[...]lusively on the brain) ='lgc'>--="trms">stages='lgc'>='lgc'>--> cognition as a process

="lstsrd">4.
complexification of life
complex (feedback loops, emergence, bifurcation) ='lgc'>=/= complicated='lgc'>: accurately analysable ="trms">system having a large number of component and perform sophisticated tasks
="lsts lst1">•most of the most valuable products today have virtual components (software, money, etc.) that would be unrecognizable 25 years ago

="lstsrd">5.
automation of life
(fundamental legal principle of) ius gentium='lgc'>: all humans are the same in so far as they are rational human beings in possession of free will ='lgc'>=/= 21st century ="trms">neuro="trms">scientific research
='lgc'>}='lgc'>--Libet='lgc'>='lgc'>--> “free won't” ='lgc'>: the mind exists in a climate which says yes, but it can say no
="trms">agency is outsourced to ="trms">systems that increasingly invisiblize from everyday life (software deciding mortgage, Face="trms">book sug="trms">gest friend, turning car into a moving computer)

dystopian ="trms">imaginary of Black Mirror TV series ='lgc'>='lgc'>--> these developments are a tyrannical force that undermine an a ="trms">priori and fundamental humanness

='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ="trms">consumer rese="trms"nttrm="search">archer's results will be powerful counter-balances to the often too blindly utopian and dystopian accounts of the future

="display:block;white-space:nowrap;margin-bottom:-1em;overflow:hidden;">...................................

='lgc'>[='strcls'>*='lgc'>]advertising='lgc'>: (ubiquitous and contentious) ="trms">symptom of organization='lgc'>[= corporate entity and/or common practice='lgc'>]
="trms">aesthetic ambassador of the organization
='lgc'>--(a way through which)='lgc'>='lgc'>--> ='strcls'>**anyone outside the organization mythologizes an ="trms">imaginary inside='strcls'>**

(its) media='lgc'>:
="lsts lst1">•='strcls'>***indirect messages of public ="trms">relations that are embedded deep in the heart of non-advertising genres='strcls'>***
="lsts lst1">•bombastic and direct appeal of made-for-cinema advertisement and corporate ="trms">communication
="lsts lst1">•

how advertising used to be scorned as a practice and profession ='lgc'>='lgc'>--> gained ="trms">responsibility in American culture='lgc'>:
="prgrph">-1 advertising became ="trms">instrumental in en="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">listing soldiers during ="trms">world war I ='lgc'>='lgc'>==> lending it a moral force which served more noble purposes besides commerce
="prgrph">-2 it was elevated through its incorporation into education (first in Harvard University 1924)
="prgrph">-3 it becames adept at referencing styles and com="trms">missioning work from the realm of high culture
='lgc'>}='lgc'>--now='lgc'>='lgc'>--> advertising does not just produce culture, but ='strcls'>***culture produces advertising='strcls'>***

="large lg2" stl="font-size:111%"> (one of the central ="trms">questions of advertising in contemporary times has been the extent to which) ='strcls'>*advertising enframes everything within its discourse and logic='strcls'>*
='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> ='strcls'>****if advertising is everything, what is it not='qstn'>?='strcls'>**** ='lgc'>[='at'>@="nms">apass='lgc'>] ='lgc'><='lgc'>-- this is a crucial ="trms">question about advertising and it is part of a larger global crucial devate about the commodification of life and previously inalienable aspects thereof

="trms">scientific advertising ='lgc'>-='lgc'>='lgc'>--> ='gtrw'>go to ="ppl">="ppl">Haraway

advertising='lgc'>:
="lstsrd">1. fascinates us
="lstsrd">2. it works

an average person in the western ="trms">world is exposed to 3000 advertisements per day

everyday, it transforms me from this ="trms">world to an ="trms">imaginary one for a moment

(advertising) offers through a ='strcls'>*constant stream of visual cameos='strcls'>* برجسته کارى, ='strcls'>*implicit standards='strcls'>* of cleanliness, ="trms">sociality, family life, health, happiness, and a great many other values ='lgc'>='lgc'>==> ="trms">affect me


='strcls'>****="trms">modern advertising works by appearing not to care if it works='strcls'>**** ='lgc'>='lgc'>--> when someone utters the immortal phrase “advertising doesn't ="trms">affect me"='lgc'> = advertising has achieved its ultimate goal ='lgc'>='lgc'>--> ='strcls'>*****advertising empowers us to feel distant to it='strcls'>*****

="ppl">Campbell ='lgc'>='lgc'>--> advertising='lgc'>: organizs meaning in the most powerful and generic of senses ='lgc'>+ a ="trms">symptom of the organization

="large lg6" stl="font-size:118%">
="large lg1" stl="font-size:124%"> 1920 - 1930
="trms">modern advertising's coming of age (creating compelling signs)
(its signs underwent a qualitative shift in) sophistication
personalized testimonials
='strcls'>*participatory tone of voice='strcls'>* ='lgc'>[='lgc'>=/= direct imperative command='lgc'>]
="trms">consumer goods ="trms">embodied values (that had normally been attributed to humans and the ="trms">natural ="trms">world) ='lgc'>[='lgc'>=/= mere economic entities='lgc'>]
(through the ="trms">system of advertising='lgc'>: ='strcls'>*="trms">imagining the product as a benefit sought by the ="trms">consumer='strcls'>* ='lgc'>~ illumination instead of lighting fixtures, prestige instead of automobiles, sex appeal instead of mere soap,,) ='strcls'>*products ='lgc'>--offer='lgc'>='lgc'>--> mini-solutions to the dilemmas of ="trms">modernity='lgc'>[= the pace and scale of rationalization, depersonalization and ="trms"nttrm="disturban">urbanization brought by ="trms">modern industrial capitalism ='lgc'>==exerted='lgc'>='lgc'>==> هزینه خسارت a toll on the human psyche='lgc'>]

1950 - 1960
(from) public role of sign identification ='lgc'>--to='lgc'>='lgc'>--> private and psychological space of one's mind and ="trms">interior life
rise of ='strcls'>*depth men='strcls'>* (='lgc'>='lgc'>--> Mad Men TV series, people in advertising ="trms">agencies that reportedly used psychological ="trms">techniques to uncovers the subconscious needs, desires, insecurities, fears of ="trms">consumers)
='strcls'>*product='lgc'> = unconscious fulfilments, solutions, comforts and fantasies to them='strcls'>*
='lgc'>[Packard's Betty Crocker cake mix and Esso's Tiger in your Tank campaign ='lgc'>='lgc'>--> alleged power of small groups of people to organize meaning on a massive and uncontrolled level='lgc'>]
="lsts lst1">•freezer='lgc'> = a nostalgic site of security in a threatening environment ='lgc'>=/= a device for cooling foodstuffs (='strcls'>*giving of food ='lgc'><='lgc'>--='lgc'>='lgc'>~='lgc'>~> ="trms">love='strcls'>* ='lgc'>+ insecurity ='lgc'>='lgc'>==> more food than you can eat)
="prgrph">-more sophisticated motivational research and appeals

='strcls'>****advertising='lgc'>: a form of ="trms">literacy='strcls'>**** (a new and be="trms">wildering ="trms">code)

sign ="trms">system of advertising is not static
the generations to come will regard contemporary sign ="trms">systems as rudimentary and easy to de="trms">code
ultra-sophisticated images will appear antiquited and perhaps even humorous (='at'>@="frds scrmbld"nttrm="Godard">Goda hating contemporary sign ="trms">system)
="prgrph">-the way in which advertising today visualizes software, the environment, nano="trms">technology as seemingly ='strcls'>*undeconstructible ='and'>& transparent='strcls'>* will be staple examples in classroom curricula


(the most obvious and immediate way of conceptualizing) advertising='lgc'>: a ="trms">system that creates signs with the purpose of ="trms">communicating meaning ='lgc'>=/= ="ppl">Campbell

discipline of ="trms">marketing ='lgc'>--support='lgc'>='lgc'>--> investigation of image ="trms">consumption


early models of advertising (='lgc'>='lgc'>--> ='strcls'>**how we understand the philosophy of what information and ="trms">communication are='strcls'>**)
="lsts lst1">•1949 Bell Laboratories ='lgc'>='lgc'>--> information='lgc'>: universalized component of any ="trms">system that ="trms">communicated ='lgc'>=/= “information” as rather ="trms">poetic and sipritual term (at home in philosophy ='lgc'>=/= engineering) ='lgc'>--advertising='lgc'>='lgc'>--> hierarchy of effects='lgc'>: cognitive ='lgc'>--to='lgc'>='lgc'>--> ="trms">affective ='lgc'>--to='lgc'>='lgc'>--> behavioral ='lgc'>[='lgc'>='lgc'>--> informationalize and ="trms">measure aspects of advertising='lgc'>]

(to understand) ='strcls'>*information theory of ="trms">communication as a reflection of larger ="trms">scientific and philosophical aims of the time='strcls'>*
='strcls'>***information theory of ="trms">communication ='lgc'>='lgc'>==>
="lsts lst1">•providing ="trms">codified models that predict ="trms">response
="lsts lst1">•enframe ="trms">communication within a logic of relative effectiveness or ineffectiveness
='lgc'>}='lgc'>=/= my ="trms">lectures


brand ="trms">memories
brand equity

boundary between advertising and everyday life

='lgc'>[="ppl">Campbell ='lgc'>=/=='lgc'>]
='thdf'>the idea that qualitative advertising research has a manageria="trms"nttrm="listen,alist,ilist,llist,olist,ylist,ulist">list axiology
a ="trms">priori ='thdf'>assumption of “advertising='lgc'> = information ="trms">communication” (='lgc'>=/= people incorporate advertising so that it functions as a ='strcls'>*="trms">social glue='strcls'>* within groups)

(vernacular specter of advertising)
="trms">spectacular vernacular of ="trms">social fabric

site of investigation='lgc'>:
="lstsrd">1. site of ="trms">consumption='lgc'> = reception (the field of meaning from a ="trms">consumer's perspective)
="lstsrd">2. site of production='lgc'> = processes involved in making ads (favoured in media studies and ethnographic approaches to advertising)
="lstsrd">3. site of the image='lgc'>: analysis of the meaning of the image itself (independent of intention and reception) are the most powerful way to show what images in="trms"nttrm="cluster,club">clude and ex="trms"nttrm="cluster,club">clude (drawing influence primarily from the disciplines of ="trms">history, philosophy, ="trms">sociology and ="trms">linguistics)

how meaning moved from ='strcls'>*the ="trms">world of advertising='strcls'>* ='lgc'>--to='lgc'>='lgc'>--> ='strcls'>*the ="trms">world of the ="trms">consumer='strcls'>* ='lgc'>: ways in which advertising is ="trms">integrated into the life-="trms">world of people

='strcls'>****advertising='lgc'>: a powerful ="trms">translator of the cultural ="trms">world='strcls'>**** ='and'>& داور a central arbiter of meaning in ="trms">consumer ="trms">worlds (='lgc'>='lgc'>--> ='thdf'>this is why advertising concerns me)


="ppl">Barthes ='lgc'>+ Saussure ='lgc'>+ ="ppl">Peirce ='lgc'>+ Jacobsen ='lgc'>='lgc'>--> ="trms">semiotics can be regarded as one of the most comprehensive studies of sign ="trms">system ='lgc'>~ advertisement='lgc'>: bundle of signs that formed finely constructed conventions ='lgc'>='lgc'>==> ‘image='lgc'> = text’ (its grammar='lgc'>:)
="lstsrd">1. micro-level='lgc'>: tiny units, vectors, colors, forms (within the visual plane)
="lstsrd">2. mid-level='lgc'>: human-level characteristics of gender, hairstyle, posture, facial expression, buildings, ="trms">rhetorical devices in the image (such as ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor and troping)
="lstsrd">3. ="trms"nttrm="metaph,metamorph,metabol,metal">meta-level='lgc'>: ="trms">narrative structure, mythic in ="trms">nature, to see ="trms">embodied in the properties and dynamics of the image the macro properties and fynamics of ="trms">social ="trms">world (='lgc'><='lgc'>-- business of ="trms">semiotic)

="large lg6" stl="font-size:123%"> ="ppl">Barthes ='lgc'>='lgc'>--> (new medium of) photographic advertisement='lgc'> = a ="trms">codified structure ='lgc'>=/= a transparent reflection of the ="trms">world

="large lg14" stl="font-size:117%">
="prgrph">-='strcls'>*="ppl">Barthes ="trms"nttrm="already,spread">reading of Citroen DS car
impossible newness
it appears at first sight as a superlative object صفت عالی
object which appear at first sight as completely finished ="trms">present to us at once a perfection and an absence of o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin, closure and a brilliance, ='strcls'>*a transformation of life into ="trms">matter='strcls'>*, a silence that belongs to the realm of fairy tales
='strcls'>*smoothness is not a property of ="trms">material, but a ="trms">social value='strcls'>*
="prgrph">-Christ's robe was seamless, ="trms">science ="trms">fiction, made of unbroken ="trms"nttrm="metaph,metamorph,metabol,metal">metal, ="trms">phenomenology of assembling, hold together by sole virtue of their wondrous shape ='lgc'>='lgc'>==> ='thdf'>the idea of benign ="trms">nature
='lgc'>}='lgc'>--learn='lgc'>='lgc'>--> (to make) lines of connection='lgc'>: visual convention ='lgc'>+ ="trms">religious painting, ="trms">science ="trms">fiction film, politics of ="trms">nature (constructed over the ="trms">past 2000 years of western culture) ='lgc'>[='lgc'><='lgc'>-- to understand this in your own work ='at'>#feedback ='at'>@="nms">apass='lgc'>]


="prgrph">-='strcls'>*="ppl">="ppl">Haraway
neutral images of (high-tech) ="trms">science ='lgc'>='lgc'>--> stock of Renaissance visual analogues ='lgc'>='lgc'>==> legitimate lineage ='lgc'>+ o="trms"nttrm="righ,rigo,riga,rigi,trig,rign">rigin ="trms">story (for ="trms">technical revolutions)

(="ppl">Barthes > ="ppl">Campbell) ='strcls'>**what sign constructions do westerners use to tell the ="trms">story of how ="trms">technology comes to be ="trms">present in the ="trms">world='qstn'>?='strcls'>**

="large lg10" stl="font-size:121%">
="prgrph">-='strcls'>*="ppl">Campbell ="trms"nttrm="already,spread">reading of Simens’ ad “builing blocks” (2005)
Simens products float into space, as ="trms">naturally and as pure white snowflake falling to the earth
absence of labor ='lgc'>==herald='lgc'>='lgc'>==> a universe of self-organizing invisible ="trms">agency
“="trms">technology='lgc'> = invisible force that is lighter than air, rearranging itself into whatever seems to be needed” (='lgc'>=/= ="trms">fashioned, melted, hammered , soldered and generally forced into the ="trms">natural order)
='lgc'>='lgc'>==> the ="trms">agency that organizes is non-pollutant, non-disruptive, non-energetic
(from) cacophonous ='lgc'>--to='lgc'>='lgc'>--> harmonious ='lgc'>[='lgc'><='lgc'>-- ="trms">technology seeks its home='lgc'>]
sky above, supra-structure ='lgc'>=/= ='lgc'>[='strcls'>*='lgc'>]infrastructure='lgc'>: structure from below
='lgc'>--Simens='lgc'>='lgc'>--> ='lgc'>[='strcls'>*='lgc'>]="trms">technology='lgc'>: apotheosized (تکريم) by extending its self-organizing capabilities, lending it a divinity which is universal, inevitable, ="trms">natural and just (Simens’ ad ='lgc'>='lgc'>==> Iron Man image)


supra-structure ='lgc'>='lgc'>--> new / ="ppl">="ppl">Star Trek
                             |
infrastructure ='lgc'>='lgc'>--> old / planets they visit


the human body='lgc'>: the most depicted object in advertising
='lgc'>='lgc'>--> research tradition='lgc'>:
humans have more synapses for ="trms">interprting face
depiction of female body
male body
sex in advertising
racial marked body
(boring ="trms">questions='lgc'>:)
="lsts lst1">•whether advertising reflects the ="trms">world or shape it
="lsts lst1">•how signs reproduce, create, normalize or subvert the often unequal power structures that exist between male and female bodies
='lgc'>='lgc'>--> ='strcls'>**despite potential ambiguity in images we as visual ="trms">consumers are always ="trms">presented with a “preferred ="trms"nttrm="already,spread">reading”='strcls'>** ='at'>@="frds scrmbld">Pierre, ="frds scrmbld"nttrm="Godard">Goda ='lgc'>='lgc'>--> “image is controlled by discursive limits” (='lgc'>--="frds">Sina='lgc'>='lgc'>--> ="trms">fable of ‘subtlest ideological weapon of advertising’) ='lgc'>--="ppl">Campbell='lgc'>='lgc'>--> paradox of identity construction='lgc'>: the ="trms">consuming subject chooses among a limited repertoire of “iterated” or preexisting identities provided by ="trms">marketing and adertising, steering viewers in preferred directions ='lgc'>[='lgc'><='lgc'>-- a ="trms">fable='lgc'>]
='lgc'>[='strcls'>*='lgc'>]coopt='lgc'>: advertising pretends to acknowl="trms"nttrm="knowledge,Knowledge">edge a competing discourse or ideology, but only pays lip service to it, ignoring its real radical challenge

='thdf'>the idea of advertising='lgc'>: a ="trms">system that instils (القا، کم کم تزریق کردن) products and services with cultural and ="trms">social values that are not intrinsic to them ='lgc'>[='lgc'>~ magic='lgc'>]
='lgc'>='lgc'>--> highly visible display of ruling-class ="trms">interests
='strcls'>*advertising='lgc'> = capitalism ='lgc'>+ ="trms">aesthetics='strcls'>*
advertising='lgc'>: the pre-eminent way in which the ="trms">interest of the powerful minority maintain the docility, alienation, or servitude of the majority (='lgc'>='lgc'>--> ="frds scrmbld"nttrm="Godard">Goda's understanding of pop culture)

='lgc'>[='strcls'>*='lgc'>]magic='lgc'>: conjure an object from its immediate ="trms">material rootedness and animate it with a much more potent energy ='lgc'>='lgc'>==> erase human experience of the monotony of ="trms">consumption with its transient satisfactions and reinvigorate it anew with fresh promise-claims
='thdf'>for example advertisement for mobile phone='lgc'> = ='strcls'>*sug="trms">gestion='strcls'>* (about a certain design ="trms">aesthetic ='lgc'>+ a certain tole in professional life ='lgc'>+ a certain sexual appeal ='lgc'>+ a certain ="trms">social ="trms">network) ='lgc'>=/= ='strcls'>*announcement='strcls'>* (about a ="trms">technical device)
(announcement ='lgc'>=/= sug="trms">gestion='lgc'>: the act of advertising)

='lgc'>}='lgc'>--1='lgc'>='lgc'>--> ='thdf'>the idea that advertising's signs='lgc'> = carefully constructed highly selective and distortive ways of seeing ='lgc'>[='lgc'>=/= simple reflections of the state of the ="trms">world='lgc'>] ='lgc'>==(="ppl">Adorno, Horkheimer, ="ppl">Marcuse, Klein, Curtis, Jhally, ='at'>@="nms">apass, ="frds scrmbld">Pierre)='lgc'>='lgc'>==>
="lsts lst1">•false consciousness
="lsts lst1">•commodity fetishism
="lsts lst1">•docility
="lsts lst1">•passivity
="lsts lst1">•manipulation of unconscious desire
="lsts lst1">•environmental degradation

='lgc'>}='lgc'>--2='lgc'>='lgc'>--> ='thdf'>the idea that signs actually achieve their aims (through mortise and framing work, cropping, reification, ="trms">interpellation, cooption, the gaze, face-ism, individuation) ='lgc'>='lgc'>--> ='lgc'>[="ppl">Althusser's='lgc'>] ="trms">interpellation='lgc'>: process by which we are called or hailed into subjecthood through practices imposed ="trms">onto us from outside ="trms">interests, subjects are created through ="trms">material practices (going to church and kneeling down to pray precedes my subjecthood as a spiritual person)
="lsts lst1">•="trms">recruitment advertisement='lgc'>: ="trms">interpellative genre par excellence ='lgc'>~ through the practice of ="trms">response we enter into the predefined parameters of ="trms">relation with the organization ='lgc'>{Microsoft's “we want you!” ='lgc'>='lgc'>--> 1='lgc'>: act of defining the subject='lgc'>: one who is special, unique, an individual among the masses. 2='lgc'>: collective pronoun='lgc'>: “we” serves to close the subject and the organization within a circuit of common purpose. 3='lgc'>: what is missing='lgc'>: a concrete visualization of working life in the organization, an absence which allows the ="trms"nttrm="already,spread">reader to project his/her own fantasy ="trms">onto space ='lgc'>: ‘infantilize the organization ='lgc'>='lgc'>==> empower the subject’ ='lgc'>--re="trms">present='lgc'>='lgc'>--> an ="trms">imaginary ="trms">relationship ='lgc'>=/= real conditions of our existence='lgc'>}

='lgc'>}='lgc'>--='not'>✕='lgc'>='lgc'>--> (="ppl">Campbell) ='strcls'>****images are ="trms">ontologically cryptic='strcls'>**** ='lgc'>: we conceive images to be both ="trms">agentic ='and'>& passive, residing in and ="trms">affecting many spheres ="trms">simultaneously
="lsts lst1">•image='lgc'>: visuality, ="trms">apparatus, institutions, discourse, bodies, figurality, exist within a distinctive ="trms">socio-legal environment ='lgc'>='lgc'>--> ='strcls'>**multiple ="trms">ontologies ='lgc'>[="ppl">="ppl">Ihde's multistable='lgc'>] move images beyond simple ="trms">categories of analysis (='lgc'><='lgc'>-- ='thdf'>that is why i am still a visual artist, ='at'>@="frds scrmbld">Pierre)
='strcls'>***images are extra-organizational entities='strcls'>*** (they are designed by organization but become) ='strcls'>*quixotic='strcls'>* and ='strcls'>*uncontrollable='strcls'>*
='strcls'>*="trms">fable of complex='lgc'>: there is something about the image that is beyond analytic investigation (='lgc'>--="ppl">Mitchell='lgc'>='lgc'>--> every image theorist seems to find some residue (surplus value) that goes beyond ="trms">communication, signification, persuassion (there is an extra in images) ='lgc'>='lgc'>--> images are complex ='lgc'>{
="lstsrd">1. they are constantly mutating in meaning and significance
="lstsrd">2. they cross ="trms">aesthetic borders and are not confinable to a particular domain (image='lgc'> = ="trms">aesthetic ='lgc'>+ political ='lgc'>+ ="trms">social)
="lstsrd">3. they act on all domains recursively ='lgc'>--impossible='lgc'>='lgc'>--> how the ="trms">aesthetic life of images ="trms">affects the political life of images ='lgc'>}='lgc'>--="ppl">Mitchell='lgc'>='lgc'>--> ='strcls'>*image as ="trms">species='strcls'>* (co-evolutionary entities, quasi life-form depend on a host organism) ='lgc'>='lgc'>==>
="lsts lst2">◦something not fully under human control
="lsts lst2">◦sp="trms"nttrm="already,spread">read through the host organicism
="lsts lst2">◦some die some become pandemic


="trms">aesthetic ='lgc'>--="trms">affect='lgc'>='lgc'>--> politic ='lgc'>--="trms">affect='lgc'>='lgc'>--> ="trms">aesthetic ='lgc'>--="trms">affect='lgc'>='lgc'>--> politic


="large lg3" stl="font-size:110%"> ='at'>#workshop make an ad for ="nms">apass


advertising trend
="lstsrd">1. information='lgc'>: (from) traditional forms of print ='and'>& television ='lgc'>--to='lgc'>='lgc'>--> intensification and hybridization in oblique ways ='lgc'>+ through new media (adver-gaming, twitter-piccing, virtual-="trms">worlding, Corridor Crew's product placement)
="lstsrd">2. persuasion='lgc'>: ='lgc'>[as a ="trms">rhetorical force='lgc'>] (from) information-heavy selling ='lgc'>--to='lgc'>='lgc'>--> dramatic persuasion
="lstsrd">3. entertainment='lgc'>: ="trms">communication through entertainment ='lgc'>=/= information, persuasion
="lsts lst1">•(from) ="trms">staging products in films ='lgc'>--to='lgc'>='lgc'>--> embedding of brands so deeply into the fabric of the film's ="trms">narrative as object-actors that propel the plot
(Corridor Crew's unobtrusive embedding of branded goods and services in ="trms">storytelling, hybrid both ="trms">staging and embedding)

brand ='lgc'>='lgc'>--> creativity of ="trms">consumers to create artisti[...]