Papers by Andrea Cuman
Questa pubblicazione ha origine da una ricerca, realizzata nell'ambito dell'osservatorio ... more Questa pubblicazione ha origine da una ricerca, realizzata nell'ambito dell'osservatorio Focus in Media della Fondazione per la Sussidiariet\ue0, che sul fenomeno ha ripreso le indagini pi\uf9 recenti, elaborato risultati originali e interpellato studiosi e operatori del mercato internazionale.Ne esce la descrizione di un campo di forze in continuo fermento, dove le strategie industriali, le pratiche degli spettatori e le innovazioni tecnologiche definiscono in modo originale il valore simbolico ed economico della pratica spettatoriale e dei contenuti della televisione nell'era del web 2.
A Matter of Design Making Society Through Science and Technology, Jun 6, 2014
Abstract in inglese: One of the most important innovations made possible by digital media, is the... more Abstract in inglese: One of the most important innovations made possible by digital media, is the recovery of the myth gratuitousness that was much stronger at the beginning of the commercial Tv era and has now been re-stabished by the digital free circulation and free downloading of Tv content. The value of Tv consumption at the time of Web 2.0 is generated by different dimensions: the individual and self-managed (as a sort of economy of attention) and the collective way of consumption that creates a circuit where the users of a social ...
The aim of the thesis has been to analyze the so-called phenomenon of Fuorisalone through a doubl... more The aim of the thesis has been to analyze the so-called phenomenon of Fuorisalone through a double disciplinary perspective: on the one hand that of the mobilities paradigm (Sheller-Urry, 2006), on the other hand through the Lefebvrean perspective on the production of social space (1974) and its most recent applications in the field of media geography (Jansson, 2007) and urban events (Lehtovouri, 2010). The first part is dedicated to the reconstruction of the social history of this event by identifying the pivotal subjects for its birth, the dynamics of interdependency between them and the forms of their rootedness in the territorial and socio-cultural context of the city of Milan and its design culture. The second part adopts a synchronous perspective: on the one hand the analysis of the production of the social spaces of design, with particular attention to the single design districts involved, that during this event characterize the urban space as a “diffused heterotopia” (Foucau...
in inglese: One of the most important innovations made possible by digital media, is the recovery... more in inglese: One of the most important innovations made possible by digital media, is the recovery of the myth gratuitousness that was much stronger at the beginning of the commercial Tv era and has now been re-stabished by the digital free circulation and free downloading of Tv content. The value of Tv consumption at the time of Web 2.0 is generated by different dimensions: the individual and self-managed (as a sort of economy of attention) and the collective way of consumption that creates a circuit where the users of a social ...
The project Design Capital – The seven days that makes Milan the capital of design (running time ... more The project Design Capital – The seven days that makes Milan the capital of design (running time 52 minutes) is an independent documentary by Studiolabo.
By re‐experiencing the Fuorisalone 2014 week – the settings, the people, the districts and the parties engaging the whole city – #DesignCapital collects the voices of different influential designers, such as Ron Gilad and Marten Baas, and opinion makers like Wallpaper* and CoolHunting, and explores the reasons why Milan has become the world's design capital.
Multiple perspectives linked to one another by images of the most innovative objects and outstanding installations; these images slowly build up the tale of an “endless city”, in which the urban dimension melts with the design culture.
#DesignCapital has been produced in collaboration with the the Civic School of Cinema and under the patronage of the City Council. Supported by the Milan Design Film Festival.
di Andrea Cuman, Media researcher and consultant [email protected] "Tutti sappiamo co... more di Andrea Cuman, Media researcher and consultant [email protected] "Tutti sappiamo cosa intendiamo quando parliamo di una 'stanza' in un appartamento, di un 'angolo' di strada, un 'mercato', un 'centro' commerciale o culturale, un 'luogo' pubblico e così via. Questi termini del discorso quotidiano servono a distinguere, ma non a isolare, particolari spazi, e a descrivere in generale uno spazio sociale. Essi corrispondono ad uno specifico uso di quello spazio, e dunque alla pratica spaziale che essi esprimono e costituiscono."
Chaire Unesco Université Stendhal Grenoble by Andrea Cuman
The social Tv as a complex field of changes in the ,edia system
Reports by Andrea Cuman
Final Report of the Net Children Go Mobile project, co-founded by the EC's Safer Internet Program... more Final Report of the Net Children Go Mobile project, co-founded by the EC's Safer Internet Programme (now Better Internet for Kids) to investigate through quantitative and qualitative methods how the changing conditions of internet access and use - namely, mobile internet and mobile-convergent media - bring greater, fewer or newer risks to children's online safety.
Participating countries include Denmark, Italy, Romania, and the UK, who have been directly funded by the EC's Safer Internet Programme; and Belgium, Germany, Ireland, Portugal, and Spain, who joined the project on a self-funded basis.
Brands & Social Media by Andrea Cuman
Report finale della ricerca realizzata da OssCom - Centro di ricerca sui media e la comunicazione... more Report finale della ricerca realizzata da OssCom - Centro di ricerca sui media e la comunicazione dell'Università Cattolica per Digital PR con l'obiettivo di analizzare la comunicazione di brand sui social media in Italia.
The widespread diffusion of social networks and content sharing platforms, broadly defined as soc... more The widespread diffusion of social networks and content sharing platforms, broadly defined as social media, rapidly brought companies to try and exploit these new tools for marketing and business communication purposes (Kaplan & Haenlein, 2010). Therefore, understanding how these platforms are used to engage with users, and how companies use them to comunicate their brands, has become increasingly important.
This paper will present the results of a research conducted by Osscom (Research Center on Media and Communication) and Digital PR, a public relations company, with the aim of answering to the following questions: how are companies using social media to communicate their corporate brands? Through which platforms? And how effectively are they engaging with users/consumers? Which companies are performing
better?
The first part of the presentation will then outline the research design and discuss the methodological framework, comparing it with similar research methodologies (Giglietto & Lovari, 2012). The ‘newness’ of these marketing tools, in fact, call for hybrid approaches which are not limited to purely quantitative data. Qualitative aspects are fundamental to understand the different behaviours of companies on social media, and their
integration with quantitative data has proved an effective method to integrate the brand performance with its
communicative strategy.
After identifying five relevant industry sectors (Consumer Electronics, Automobile, Banks&Insurance, Retail, Services), a panel of one hundred brands was selected in order to map their corporate profiles and to asses their performace and communicative strategies. The analysis was based on the four main social media used in Italy: blogs, Facebook, Twitter and YouTube. Data was collected both through manual count of relevant metrics (supported where possible by social media metrics tools), and through an interpretative grid of relevant
qualitative dimensions. Amongst the data considered, in fact, besides number of likes, comments, fans and followers, the dimensions taken into account regarded the coherence of corporate identity, the interconnection and cross-linking of platforms, ad hoc features of profiles and the communicative strategies adopted. The combined data resulted in a score board and five different ranks.
The second part of the paper will then present the results. Besides the ranking, different communicative styles were identified within each sector: from mono to multi-platform, from extensive to intensive use, from a ‘static’ to a ‘dynamic’ approach to social media.
Lastly, the conclusions will focus on the streght and weaknesses of this methodology, on the different outputs of the research, and, lastly, on the benefits and limitations of mixing academic and business points of view within a research design and conduction.
Conference presentations by Andrea Cuman
The recent developments of social media platforms have profoundly influenced the television indus... more The recent developments of social media platforms have profoundly influenced the television industry, both on the broadcaster's side and for the audiences, who find themselves within a socio-tecnical environment defined by new subjects with interests at stake. This contribution discusses the findings of a research that studied the emergent phenomenon of so-called Social Tv as a field of encounter (and struggle) between the performative media consumption practices of audiences, the broadcasters' exploitation strategies and the service providers' interests. In order to map this complex scenario, this research used three different methods: the secondary data analysis of academic and market research on Social TV, online questionnaires to key informants and experts (both academics and broadcasting professionals from the European context) and empirical data from an ethnographical research on Italians and social media during big media events such as Sanremo (the most important Italian popular music contest), and the national political elections of 2013. Starting by outlining the blurred boundary of what is defined as social Tv in different contexts (academic, professionals, audiences), the research shows that Social TV is shaped by three different dynamics. The first is mainly tecnological and regards the evolution of the objects: on the one side the convergence of multiple services and platforms on single devices enables the consumption of multiple services, on the other side the multiplication of devices enables multi-screen consumption practices. Moreover, the continuous advancement of second screen apps and content delivery platforms make this technological landscape far from being stabilized. This directly impacts the viewership practices (second dynamic): television becomes an occasion of typical social media chatter with different conversational styles and aims. Moreover, social media have become the typical implementation of fandom activity and a mean to act directly on the content or storylines of programmes. As for the third dynamic, that involving broadcasters, the television system is being transformed in at least three ways: firstly social media become a powerful tool to monitor audiences, both from a quantitative and qualitative point of view. In the former case it is possibile to use quantative flows of social media discourses to complement and enrich traditional viewership statistics, in the latter social media become an evaluation tool for broadcasters that use users feedbacks to make changes in schedules, programmes and contents. Secondly, broadcasters are increasingly compelled to use social media to increase affective engagement of audiences within saturated competitive environments and audiences' complex media diets. Lastly, broadcasters are able to use online environments as revenue generation and commercial exploitation tools, struggling at the same time with unprecedented threats, such as YouTube, in which the economical exploitation strategy is significantly different.
Books by Andrea Cuman
C’è un fenomeno nuovo nel sistema televisivo: l’esplosione dei discorsi sui programmi Tv prodotti... more C’è un fenomeno nuovo nel sistema televisivo: l’esplosione dei discorsi sui programmi Tv prodotti dagli utenti attraverso i social media come Twitter e Facebook, divenuti un cruciale indice di successo delle trasmissioni. L’insieme dei cambiamenti in corso a partire da questa svolta, che vede coinvolti come attori il pubblico, i broadcaster e le grandi piattaforme social, prende il nome di Social Tv. Questa pubblicazione ha origine da una ricerca, realizzata nell’ambito dell’osservatorio Focus in Media della Fondazione per la Sussidiarietà, che sul fenomeno ha ripreso le indagini più recenti, elaborato risultati originali e interpellato studiosi e operatori del mercato internazionale. Ne esce la descrizione di un campo di forze in continuo fermento, dove le strategie industriali, le pratiche degli spettatori e le innovazioni tecnologiche definiscono in modo originale il valore simbolico ed economico della pratica spettatoriale e dei contenuti della televisione nell’era del web 2.0.
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Papers by Andrea Cuman
By re‐experiencing the Fuorisalone 2014 week – the settings, the people, the districts and the parties engaging the whole city – #DesignCapital collects the voices of different influential designers, such as Ron Gilad and Marten Baas, and opinion makers like Wallpaper* and CoolHunting, and explores the reasons why Milan has become the world's design capital.
Multiple perspectives linked to one another by images of the most innovative objects and outstanding installations; these images slowly build up the tale of an “endless city”, in which the urban dimension melts with the design culture.
#DesignCapital has been produced in collaboration with the the Civic School of Cinema and under the patronage of the City Council. Supported by the Milan Design Film Festival.
Chaire Unesco Université Stendhal Grenoble by Andrea Cuman
Reports by Andrea Cuman
Participating countries include Denmark, Italy, Romania, and the UK, who have been directly funded by the EC's Safer Internet Programme; and Belgium, Germany, Ireland, Portugal, and Spain, who joined the project on a self-funded basis.
Brands & Social Media by Andrea Cuman
This paper will present the results of a research conducted by Osscom (Research Center on Media and Communication) and Digital PR, a public relations company, with the aim of answering to the following questions: how are companies using social media to communicate their corporate brands? Through which platforms? And how effectively are they engaging with users/consumers? Which companies are performing
better?
The first part of the presentation will then outline the research design and discuss the methodological framework, comparing it with similar research methodologies (Giglietto & Lovari, 2012). The ‘newness’ of these marketing tools, in fact, call for hybrid approaches which are not limited to purely quantitative data. Qualitative aspects are fundamental to understand the different behaviours of companies on social media, and their
integration with quantitative data has proved an effective method to integrate the brand performance with its
communicative strategy.
After identifying five relevant industry sectors (Consumer Electronics, Automobile, Banks&Insurance, Retail, Services), a panel of one hundred brands was selected in order to map their corporate profiles and to asses their performace and communicative strategies. The analysis was based on the four main social media used in Italy: blogs, Facebook, Twitter and YouTube. Data was collected both through manual count of relevant metrics (supported where possible by social media metrics tools), and through an interpretative grid of relevant
qualitative dimensions. Amongst the data considered, in fact, besides number of likes, comments, fans and followers, the dimensions taken into account regarded the coherence of corporate identity, the interconnection and cross-linking of platforms, ad hoc features of profiles and the communicative strategies adopted. The combined data resulted in a score board and five different ranks.
The second part of the paper will then present the results. Besides the ranking, different communicative styles were identified within each sector: from mono to multi-platform, from extensive to intensive use, from a ‘static’ to a ‘dynamic’ approach to social media.
Lastly, the conclusions will focus on the streght and weaknesses of this methodology, on the different outputs of the research, and, lastly, on the benefits and limitations of mixing academic and business points of view within a research design and conduction.
Conference presentations by Andrea Cuman
Books by Andrea Cuman
By re‐experiencing the Fuorisalone 2014 week – the settings, the people, the districts and the parties engaging the whole city – #DesignCapital collects the voices of different influential designers, such as Ron Gilad and Marten Baas, and opinion makers like Wallpaper* and CoolHunting, and explores the reasons why Milan has become the world's design capital.
Multiple perspectives linked to one another by images of the most innovative objects and outstanding installations; these images slowly build up the tale of an “endless city”, in which the urban dimension melts with the design culture.
#DesignCapital has been produced in collaboration with the the Civic School of Cinema and under the patronage of the City Council. Supported by the Milan Design Film Festival.
Participating countries include Denmark, Italy, Romania, and the UK, who have been directly funded by the EC's Safer Internet Programme; and Belgium, Germany, Ireland, Portugal, and Spain, who joined the project on a self-funded basis.
This paper will present the results of a research conducted by Osscom (Research Center on Media and Communication) and Digital PR, a public relations company, with the aim of answering to the following questions: how are companies using social media to communicate their corporate brands? Through which platforms? And how effectively are they engaging with users/consumers? Which companies are performing
better?
The first part of the presentation will then outline the research design and discuss the methodological framework, comparing it with similar research methodologies (Giglietto & Lovari, 2012). The ‘newness’ of these marketing tools, in fact, call for hybrid approaches which are not limited to purely quantitative data. Qualitative aspects are fundamental to understand the different behaviours of companies on social media, and their
integration with quantitative data has proved an effective method to integrate the brand performance with its
communicative strategy.
After identifying five relevant industry sectors (Consumer Electronics, Automobile, Banks&Insurance, Retail, Services), a panel of one hundred brands was selected in order to map their corporate profiles and to asses their performace and communicative strategies. The analysis was based on the four main social media used in Italy: blogs, Facebook, Twitter and YouTube. Data was collected both through manual count of relevant metrics (supported where possible by social media metrics tools), and through an interpretative grid of relevant
qualitative dimensions. Amongst the data considered, in fact, besides number of likes, comments, fans and followers, the dimensions taken into account regarded the coherence of corporate identity, the interconnection and cross-linking of platforms, ad hoc features of profiles and the communicative strategies adopted. The combined data resulted in a score board and five different ranks.
The second part of the paper will then present the results. Besides the ranking, different communicative styles were identified within each sector: from mono to multi-platform, from extensive to intensive use, from a ‘static’ to a ‘dynamic’ approach to social media.
Lastly, the conclusions will focus on the streght and weaknesses of this methodology, on the different outputs of the research, and, lastly, on the benefits and limitations of mixing academic and business points of view within a research design and conduction.