10
Jun

VIDEO – IE MASTER IN VISUAL MEDIA

Written on June 10, 2013 by Begoña González-Cuesta in News

Have you seen the latest Master in Visual Media video? Listen to what students and professors have to say. You can learn about our program, professors and vision in less than four minutes!

For further information, please visit mvdm.ie.edu

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10
Jun

Laura Illia wins the 2013 Business Schools’ Research Project Competition

Written on June 10, 2013 by Begoña González-Cuesta in News

 

IMG_3250Laura Illia, Assistant Professor and Academic Director of the Master in Corporate Communication at IE,  won the 2013 Business Schools’ Research project Funding competition launched by UniCredit & Universities Foundation  with the research project  entitled: “Building a new reputation indicator for UniCredit. Listening methods to close the gap between perception and reality”.

The competition is aimed to fund one research project from top worldwide business schools. This year the topic was on Corporate Reputation and was finalized to help UniCredit Stakeholder and Service Intelligence Department in handling the wide survey databases on group reputation.  Business schools involved in the competition in 2013 were: London Business School, INSEAD, IE Business School (IE University), Kellog School of Management (Northwestern University), Wharton School (University of Pennsylvania) and Said Business School (University of Oxford).

As Dr. Laura Illia specifies, “it is relevant to work on a new reputation indicator for UniCredit right now for two main reasons. First, as any other bank UniCredit is part of an industry –i.e. the financial industry- that is living a reputation crisis. It is thus interesting to study this phenomenon right now. Second, with the boost of social media and the rise of globalization it is necessary to find new ways to assess a corporate reputation.  Companies have lost the agency on their reputation and cannot merely align behaviours toward predefined reputation dimensions. Companies need to build their reputation around their relational network (online and offline) by engaging and dialoguing constantly with their stakeholders”.

The project will be lead by Dr. Laura Illia at IE Business School and IE School of Communication in collaboration with other researchers and specialist such as statisticians, experts in the financial industry and experts in communication and key performance indicators.

10
Jun

Video – IE Master in Digital Journalism

Written on June 10, 2013 by Begoña González-Cuesta in News

Have you seen the latest Master in Digital Journalism video? Listen to what students and professors have to say. You can learn about our program, professors and vision in less than four minutes!

For further information, please visit http://mdj.ie.edu

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5
Jun

Cees van Riel at IE: The alignment factor for organizations

Written on June 5, 2013 by Vanessa Dezem Baida in News

Cees van Riel lectured at IE on 22nd of April 2013, on “Increasing the Alignment Factor in your Organization” for the #IEComm Talks organized by IE School of Communication – IE University.

To see the chat on how to align the organization with its stakeholders, with Cees van Riel (Professor at Rotterdam School of Management and Vice Chairman Reputation Institute) and Sara Tyre Leuhusen (Master in Corporate Communication Student) go to:

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3
Jun

The freedom of sharing

Written on June 3, 2013 by Vanessa Dezem Baida in News

The digital world enables us to share and interact with everything. Many new tools, however, challenges the concept of privacy and intellectual property rights. About this subject, Masaaki Hasegawa, student of IE’s Master in Visual Media Communication interviewed Mr. Dominick Chen, executive board member of Creative Commons, in Japan. The company he leads is a nonprofit organization that enables the sharing and use of creativity and knowledge through free legal tools.

M. Could you imagine your current job when you were a graduate student? 

D. I was already member of the board of Creative Commons Japan when I was in the master course at University of Tokyo, so there isn’t much difference since then.

M. How did you get interested in Creative Commons?

D. Back in 2002, I was an undergraduate student at UCLA, in the Design/Media Arts department.  At that time I was very much intrigued by the new possibilities of the Internet, especially its ability to expand ways of collaboration between different artists and creators.  But at the same time I learned about the restriction imposed by the current legal system of the copyright, and the Napster case was becoming a big social issue in the US. Then, one day, I discovered the Creative Commons movement was trying to dissolve this antagonism between the new and old, and I started participating in late 2003.

M. The original concept of copyright should be to protect creators from exploitation. However, it seems that copyright is centralized into the huge corporations and they use it as a means of exploitation. How do you think about the gap between the philosophy behind the copyright and the real world?

D. In my opinion, the very core of the foundation of copyright is to bring balance between the benefits of individual creators and that of the culture.  In this sense, I believe the idea behind the initial British copyright in early 18th century was  righteous, as it restricted the protection period of copyright to 14 years after publishing.  But as we all know, the dynamics of capitalist economy allowed corporate to continuously expand this period until now (70 years after the death of the author).  This evolution might be justified in the pre-networked society, where physical costs of reproducing and distributing the works were critical.  But nowadays, in a networked world, the reality has been shifting drastically, since the communication cost of works is asymptotically diminishing to zero.  This is a disruptive change, and this is why we need to update the real world rules of copyright based on its initial philosophy.

M. It seems that understanding of concept and philosophy is important to share the idea of copyright and creative commons. Do you think education system also take an important role to build up the culture?

D. “Education” is also in its way of redefinition.  If you mean teaching in traditional education institutions such as universities, I think the education system needs to be updated to match the reality of the Internet.  The best way to understand the concept and philosophy of Creative Commons is to practice open contents publishing and sharing, just like the best way of learning computer science is to actually build software and sometime start up your own venture company to disseminate your application in the real world market.  Many questions arise from this point of view: who is eligible to teach such practice in universities? what sort of curriculum we could come up with?

M. The idea of Creative Commons would be a solution to a gap of development between the digital environment and the copyright? Or Creative Commons leads the economy to a totally different direction?

D. Creative Commons is a solution to mediate the clash between the old copyright system and the innovative force of the Internet. But I think it is also a social experiment that tries to fill the gap between many different boundaries: copyright-protected works and public domain, amateurs and professionals, private and public, market and non-market.  I believe what we are seeing today is a new type of economy that is flourishing form these bridged regions, and we need to pay sufficient attention and care in order to nurture them.

M. The culture and the economy seem resemble to each other. Like excessive government intervention with market impedes the healthy development of economy, it seems that excessive protection of right holders potentially impedes the healthy growth of the creative industry. From this perspective, how do you think about current regulation and law, in the world?

D. I think ‘governance’ is also in its own way of update.  For instance the open government initiatives led by the US and UK and followed by many other countries is one instance of this change that is happening.  In my opinion, governing a country has similar points to managing an online community; they both need to ‘design serendipity’ like Michael Nielsen says in his book “Reinventing Discovery: The New Era of Networked Science” , or in other words, incorporate contingency (both positive and negative) into their management process.  And another important change is that governance is not a topdown action anymore, as the citizens can more and more directly reflect their thoughts and idea to the policy making processes.

M. When people talk about copyright, they tend to discuss about the monetary profit of the author. Like Richard Stallman mentioned, do you think we need to consider much more about the right of user in order for healthy development of the creative industry?

D. To give freedom to the user of works is not a charity, but a design.  Openly publishing works to allow users to freely recreate and redistribute is a form of communication between the author and the users.  Works are to be considered resources of communication, and as a result of this communication, both the author and users should benefit in some way or another; we should not place disproportionate weight on one side.

M. People tend to believe that creative commons would cause to lose the potential monetary profit. How do you encounter this kind of consideration?

D. Every time I hear this kind of opinion, I feel sad they only see a shallow aspect of what open licensing is about.  One just needs to take a look at the open source economy, mainly that of GNU/Linux operating system; why wouldn’t this be possible in the world of creative contents? Creative Commons does offer licenses that allow commercial use of the work, and it also enables creators to deploy a dual-licensing model (providing the work both for non-commercial use and commercial use under different conditions).

M. Interestingly, the music industry has recently experienced the growth of market though it is still possible to download the music illegally. Would this indicate that what impedes the growth of creative market is not piracy of copyright, but the system of distribution or the vested interests group?

D. I believe that P2P file sharing, despite the fact it’s legal or not, can contribute to the sale of contents, namely music works, in a long term.  For instance, a user can discover new musician without paying on illegal networks, and later buy a new album of the same artist on legal market.  However, I think detailed quantitative research needs to be developed in order to really understand the correlation between them.

M. As the advent of Spotify and Read Pettie, the concept of owning product seems to alter into that of reaching. How this tendency would effect on the copyright and the Creative Commons in the future?

D. I think there is a shift in what the users/customers are looking for: they don’t necessarily want to ‘own’ the work, but they are looking for ways to ‘access’ it conveniently.  We less and less download works, but more and more access them online.  There is a general tendency to shift to the ‘cloud’ and ‘mobile’ environment, and its inevitably changing the ways we remix and share works.  Regarding this matter, I produced an iOS app in 2009 that lets users stream and remix music fragments and post them online directly (https://itunes.apple.com/en/app/audiovisual-mixer-for-into/id338225050?mt=8).

M. When Napster voluntarily shut down its service, users scattered to a variety of services that was decentralization of music service. This caused the music industry to take a long time to change its ecosystem until Spotify appeared.

Do you think centralizing people who would share the concept of Creative Commons is also important to encounter the current issues on copyright and develop the Creative Commons market?

D. Creative Commons is not about centralizing users to one place, it is designed so that works can be put out of any ‘walled garden’ and freely migrate to a multitude of different domains. Spotify and alike are about letting users access to music most conveniently, but I’m interested in how they will enable their own form of remix culture.  At the same time, I also think Creative Commons and other open licensing needs technological innovation to track the branching history of such remixes.

M. What is the key-point to disseminate the creative commons in the society?

D. I don’t think there is a magic solution, it’s a time-consuming process.  The idea of open contents can be spread out only by innovative application and real world examples that users can actually get interested in.  So the key point would be to promote the adoption of CC licenses to as many creators and developers as possible.

M. Please tell me your future vision and ideal about creative commons.

D. I think it’s just as important today to think about how would people use Creative Commons licensed works and provide actual interface, as to disseminate the concept of CC license.  This is why I’m personally more focused on building applications that let users express their creativity.

 

28
May

During the three days of this conference sponsored by IE’s School of Communication, attendants will have the honor of listening and meeting top experts in the field, both from the academic and business world: Charles Fombrun,
Founder and Chairman
of Reputation Institute; Joaquín de Ena Squella,
Global Head of Sustainability
of Banco Santander; Carlos Espinosa de los Monteros,
High Commissioner of the Government; Kathryn Partridge,Corporate Relations Director, Strategy of
Diageo; Jordi Alavedra,
Vice President
of Ogilvy and Mather, among others.

Laura Illia, IE School of Communication professor and Academic Director of the Executive Master in Corporate Communication, will also be a speaker of the conference. She will present the results of a study conducted in collaboration with New York University’s Stern School of Business and IULM University entitled “CSR stakeholder engagement: exploring 4 types of dialogues among top 100 worldwide companies”.

More information at: http://www.reputationinstitute.com/conferences-events

 

IE School of Communication

 

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28
May

Last days to win 5 tickets to participate in the 17th Reputation Institute Annual Conference!

As a sponsor of the event, IE School of Communication is giving away 5 tickets to IE students and Alumni that would like to participate in the Annual Conference of the Reputation Institute.

http://www.reputationinstitute.com/conferences-events

You have to describe in you Facebook page a significant testimonial about a major challenge you had during the reputation journey of a company you have worked for. You must tag the Reputation Institute official Facebook page and IE School of Communication in your post.

Good luck!

 

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27
May
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The students of the Master in Visual Media at IE School of Communication went on a field trip to Mercedes Benz Madrid Fashion Week as part of their course on Events Creation and Management. Guided by Pelonio, a creative consultancy based in Madrid, students visited the backstage area and watched some of the most innovative fashion shows programmed under the “El Ego” series, which features young up-and-coming Spanish designers. After the show, they enjoyed a cocktail in the company of models and designers like Pepa Salazar, Assaad Awad and María Rosenfeldt (heridadegato), as well as social media celebrities like Andrés Borque and Pepino y Crawford.

26
May

Experiential Marketing

Written on May 26, 2013 by Vanessa Dezem Baida in News

Grant Campbell is an award winning Creative Director at Ignite Europe Limited, a British experimental marketing agency.  His creativity has been showed in a various kinds of global projects from short film festival and live broadcast for Nokia, Nelson Mandela’s 90th birthday charity concert in Hyde Park, Royal Command film premieres and the Smirnoff Paintfest tour, to numerous festival and sporting event activations. Also, his latest and greatest work – The EDF Energy London 2012 Energy of the Nation campaign – is known as the first twitter powered light show, a live energy reading on the London Eye every night of the London Olympics. Masaaki Hasegawa, IE´s student at the Master in Visual Media, had the opportunity to talk to him.

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MH. First of all, tell me about you and your passion for your work. How did you get interested in this field?

GC: I found my way into experiential quite by chance. It’s not a traditional part of the industry and has really only become mainstream since the advent of social media. In the past we used to work to a 1:7 ration. For every one person who comes to an event, they’ll tell seven about it. Now that people constantly update their social media the amplification and number of people you can touch with an experiential event are enormous. One of the first big events I worked on was the concert for Nelson Mandela’s 90th birthday charity concert. That showed me that you can achieve much more with an event than any traditional campaign.

 

MH: You have experience in copywriting and were the co-founder of some businesses. Have those experience made your presence in the market and enabled you to have different viewpoints from others?

GC: The interesting thing about experiential is that you end up working with people from all kinds of diverse backgrounds. Some are former DJs, actors or chefs. Most have worked in a customer facing role or the hospitality industries at some point and it gives you a better idea of how people on the ground at an experience will react to things. On the other hand my background as a copywriter has taught me to learn and digest every piece of information about a client, because that’s how you find the killer insight.

 

MH: Please let us know about your work-style. How do you reach a final solution? Do you usually come up with unique ideas using your own creativity or you usually work by demand, in which you propose some options and develop them together with your client?

GC: There are two ways to answer a brief. You can react to it with existing solutions or you can come up with something new and unique. I prefer the second way as it’s the only way to stay ahead of the competition and the only way your client can.

 

MH: What is a key process of creating festivals, events, and experiences? Do you intentionally design people’s emotion and their behavior?

GC: The most important thing is to find a way for people to have fun or be amazed. The most important insight you can come up with is a human truth. Something that is undeniable and doesn’t have to be explained, if you can do that the rest is easy. You don’t need to design any other emotion in it it’s something that people know deep down.

 

MH: In my view, experiential marketing is not just an artistic experience creation but also a strategic thinking. How do you combine your creativity with a strategy to reach the target goal?

GC: We’re quite fortunate in that the strategy can be a bit looser for experiential than a full-blown above the line campaign. But a lot of the strategy we come up with is again a reaction to a simple, human truth.

 

MH: The development of technology has changed our experiences so dramatically. For example, 10 years ago it was impossible to gather public voice instantaneously, like Twitter does. To what extent technology has effect on your work, idea creation and strategy?

GC: Experiential has become what it is entirely thanks to Facebook. People share their every experience and if that experience is a good one, brought to them by a brand they’ll share it. Add twitter and Instagram to this and we have the ability to read live reactions to an event… this has been a wonderful addition to the mix – clients can see live results.

 

MH: What is the difficulty on the process of translating creative ideas into practical works?

GC: Sometimes the operational guys (the who are responsible for building the experience) hate us… very often we’ll have a great idea that just proves to be a logistical nightmare for them, so we do tend to work very closely with them and every creative has to have a mix of skills that give them a good idea of practicalities. For example, I’ve worked with a number of other (non-experiential) agencies who have suggested ideas that are simply impossible… such as projecting on the moon. They have a basic lack of understanding of mechanics and technology. Experiential creatives tend to be quite practical and techy on top of creative.

 

MH: Is there any trend that we need to follow in this field?

GC Follow every trend and you’ll be able to come up with the next big idea by putting those two things together. Steve Jobs summed this up:

“Creativity is just connecting things. When you ask creative people how they did something, they feel a little guilty because they didn’t really do it, the just saw something. It seemed obvious to them after a while”

 

MH: Unlike the past, experience seems to be one of the most important elements in our life. In developed countries, most people are materialistically satisfied and instead are eager to be recognized by others on social media. And experience is a key content for them to share with others. How do you expect the future of creating experience?

GC Experiences are a social currency now so I imagine experiences will have to get more and more ambitious – the commercialization of space travel is probably the best example of this today… twenty years ago a bungee jump was the ultimate experience… now you can do that on any holiday. A major global trend that’s fed the experience currency is the deep global recession. Young people don’t go traveling around the world so much, so they look closer to home for experiences – and if that’s cost prohibitive, there’s now very often a brand that’s willing to give them the experience for free.

 

17
May

How to use the social media to find a job

Written on May 17, 2013 by Vanessa Dezem Baida in News

An interview with Juan Merodio

“In order to  find a job or improve our professional situation, it is absolutely important to know how to manage our digital reputation and identity”

 

By ALICE PODENZANA, student of the Master in Digital Journalism, at IE School of Communication

With its high unemployment rate and perseverant recession, Spain is living a difficult moment. In a scenario in which finding a job is becoming a big challenge, Social Media cover a fundamental role: more and more companies search for the online presence of their candidates, and take care of your online personal branding is a must to be hired. But, how to use these new tools in a useful way? Several books cover this subject, and one of the last ones is Trabajar con Red by Juan Merodio.

Juan is a Spanish blogger, and one of the main experts in Digital Marketing and Social Networks. Winner of several awards, including the award for the Best Idea of the Year 2006 by Actualidad Económica and the prize Young Social Entrepreneurs by the Universidad Europea of Madrid, he always has cultivated the passion for writing. Author of several books about Marketing 2.0, he inaugurated 2013 with this new book, in which he explains how to deal with the new situation in the Spanish labor market, and provides useful tips to succeed.

 

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Trabajar con red, published by LID Publishing, is your sixth book in few years. What have inspired you to write it?

The idea came up over a year ago by watching the complicated situation we had here in Spain about the job seeking. I saw that human resources departments were changing the way to look for new employees, but most people were still using the same traditional methods, as Internet portals or just sending their resume and waiting for a reply. So I decided to create a book to help a little bit people to have other options, and to be more visible in order to find a job they want or to improve their current professional situation.

 

In several interviews you defined your book as a manual rather than a simple book for reading.

When I say it is like a guide is because it is really a book to read with a computer in front of you, because I tell step by step how to manage your personal brand strategy, how to use each social network, how to manage your online profile, with the aim of create your professional brand and your online visibility to find job more easily. It is a guide that will help you to improve all these steps. It’s a book for any professional who is unemployed and wants to find a job, or who has a job and wants to improve it.

 

What do you think is the greatest challenge for people who get to search a job through social networks?

Today, the main difficulty is the saturation. When a company publishes a job offer, suddenly there are 600 people registered, so each user becomes almost invisible. But this difficulty can be overcome with the help of social tools. For example, I think in the use of the video resume, which here in Spain is seldom used, but it is a way to differentiate yourself. In the end, the best option is to try to differentiate yourself among all candidates, and a video curriculum is something anyone can do with a webcam or a mobile phone, transmitting to the recruiter a different original view of yourself.

 

So, differentiate yourself with creativity.

Right. Find creativity. For example the case of the video resume with Vine: the person who did it, she stands out from the others. This is the basis to success: creatively use the new tools we have to stand out.

 

“Current situation, known by all,” this is the title of the first chapter of the book. It’s true, we all know how difficult is nowadays to find a job, and is also difficult to be optimistic. But in your book you talk about the importance of what you define as Internal Positivism.

We live in a very complicated moment, where it is important to be positive. In the end, you transmit everything, and if you start with a negative mindset, you will automatically put yourself in a negative situation, in which will be more difficult for you to succeed. We always need to look ahead, see the glass half full, be optimistic, and get to work to find what we are looking for. These measures I explain in the book are medium to long term ones, but they are certainly going to help people.

 

In your book you focus on four specific tools: blogs, Linkedin, Facebook, and Twitter. What are their different uses to find job?

Linkedin is the leading social network to find job: there you have to be, with a very complete profile , and trying to be active in it. Facebook is an interesting social network but not essential in order to find job. Twitter is more and more useful because there are many companies that are turning to this social network, publishing job vacancies, and obviously if you aren’t there you could lose opportunities.

 

Some people prefer to have two profiles, one personal and one professional…

It may be a good choice. Anyway, I think you always have to be careful when you use social networks as personal or leisure profile, because often you upload information that the person who is evaluating you may not like, and this could condition the decision to hire you or not. I know, it’s not fair; but it is a reality ,and we must accept it as such.

 

The way to seek for a job is changing, and social networks are for you the “present”. In your opinion, what could be the future?

It is very difficult to know or guess how this situation will change, also because of the speed with which nowadays everything changes. But I have pretty clear that we’re going to have all these tools more and more social: I do not care if they will be FB, Twitter or Linkedin, or a new one. Things are going to be more connected with internet, and there will be more info available network about each of us, both personally and professionally. So, I think it is absolutely important to know how to work with these tools, and how to manage our digital reputation and identity. All the small footprints we leave online everyday give people a first impression about us; we have to make sure this first impression to be as real as possible.

 

 

 

 

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