Comercio por internet: las mujeres ya somos casi la mitad del mercado ¿quieres saber qué compramos? – El Mostrador

A nivel mundial, nosotras adquirimos a través de la web mayor cantidad de productos que los hombres, según la Comscore, compañía de investigación de marketing on line. En Chile, aumentamos sostenidamente nuestro consumo virtual y lo hacemos sobre todo por celular entre las 4 y las 10 de la noche.

Fuente: Comercio por internet: las mujeres ya somos casi la mitad del mercado ¿quieres saber qué compramos? – El Mostrador


How pimps keep eluding internet stings | Loretta Stalans & Mary Finn | Opinion | The Guardian

America has always had an underground sex trade, and for decades most pimps followed the same general script: they’d recruit sex workers on the street, in bars and in strip clubs.But over the past 20 years, the internet has become the major marketplace for the sex trade, with online advertisements and recruitment through social media sites greatly expanding the reach and enhancing the elusiveness of pimps.

Fuente: How pimps keep eluding internet stings | Loretta Stalans & Mary Finn | Opinion | The Guardian


Twitter puts trillions of tweets up for sale to data miners | Technology | The Guardian

Twitter puts trillions of tweets up for sale to data miners | Technology | The Guardian.

Company plans to make content generated by users available to commerce, academia and even police involved in crowd control

Twitter user about to start up Twitter on a phone
Twitter is quick to point out that ‘what you say on Twitter may be viewed all around the world instantly’. Photograph: Dominic Lipinski/PA

You are travelling by plane to see your newborn grandchild. As you board the aircraft, the cabin crew address you by name and congratulate you on the arrival of a bouncing baby boy. On your seat, you find a gift-wrapped blue rattle with a note from the airline.

In Twitter data strategy chief Chris Moody’s vision of the future, companies surprising their customers like this could become an everyday occurrence – made possible because Twitter is listening.

Computer systems are already aggregating trillions of tweets from the microblogging site, sorting and sifting through countless conversations, following the banter and blustering, ideas and opinions of its 288 million users in search of commercial opportunities.

It is not only commercial interests that are mining the data. Academics are using it to gauge the mood in a football crowd, and trying to shed light on whether Premier League players such as Manchester United’s Radamel Falcao are overpaid – with a team of researchers from Reading, Dundee and Cambridge universities testing whether top-flight footballers’ salaries are related purely to performance on the pitch or can be boosted by popularity on social media.

Selling data is as yet a small part of Twitter’s overall income – $70m out of a total of $1.3bn last year, with the lion’s share of cash coming from advertising, but the social network has big plans to increase that. Its acquisition of Chris Moody’s analytics company Gnip for $130m last April is a sign of that intent.

Google and Facebook have built their businesses around sharing data, but their control of our private and public information has become a source of huge controversy.


The great pop power shift: how online armies replaced fan clubs | Music | The Guardian

The great pop power shift: how online armies replaced fan clubs | Music | The Guardian.

Duran Duran are suing the managers of their fan club. But in an age when teenagers would rather have a selfie with a star than their autograph, what are fan clubs even for?
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One Direction fans struggle to hold it all together at one of the group’s concerts. Photograph: Craig Warga/Getty Images

The relationship between musician and fan has always been built on a farce inside a nonsense, but in recent years this relationship has contorted in strange and unexpected new ways.

Last month, news broke that Duran Duran are suing the managers of their fan club. It sounded like a pop bulletin from another planet: who would have a fan club in 2014? When fan armies can assemble online and enjoy what they believe to be direct contact with their idol of choice, the legal actions of Le Bon et al offer a stark reminder of how far fandom has come.

Back in Duran Duran’s heyday, when strict lines were drawn between fan and band, a fan club – £15 a year for some photocopied mailouts, a badge and a membership card – seemed like the best way of keeping up to date with a pop star’s movements. By the 1990s, the prevalence of direct mail (most seeming to originate from Trinity Street, a company that once boasted a database of six million UK pop fans) made subscribing to an artist’s mailshots more like a marketing exercise. In the past 10 years, with letterboxes viewed by teenagers as little more than takeaway menu delivery enablers, pop stars have been able to offer unmediated, real-time updates of what they have for lunch.

But any sense of passivity has fallen out of fandom as power has shifted from the artist to the fans. It is now fans, not necessarily musicians, who have the disposable income. And artists need fans to do more than buy music, invest in concert tickets and – and here’s a phrase nobody wants to see in their Twitter feed – “pre-order the single on iTunes”. They need them to repeatedly watch videos – with monetised pre-roll ads – on Vevo and YouTube: the higher the play count, the more an artist can charge for product placement in the next one. They also need them to click the “heart” icon on blog aggregator The Hype Machine so that more blogs write about the song.

And while bombarding radio stations with requests to play a new single may be rather old hat, a more sophisticated (and completely absurd) strategy is now in place. Artists offer fans incentives to (mis)use the song recognition service Shazam to tag a song whose identity they know all too well so that Shazam’s charts mislead radio playlist controllers into thinking that a song is reacting well with the wider public and must therefore receive higher rotation.

The more awareness there is of an artist, the more traction they have on social media; the more fans they have, the more they can make from endorsements. So it’s alarming to listen to some artists talking candidly in private about their fans. Backstage, lovingly purchased gifts are mocked or scooped into black bin bags. Musicians are disappointed that their fans are too old or embarrassed that their fans are too young. Fans are too gay or too female or too ugly. Sometimes, despite huge resources being spent whipping them into a frenzy, fans are seen as too intense and too annoying. Some artists would argue that they really do love their fans. Would they choose to spend a night in the pub with these fans? No. Do they want these fans to believe they would? Yes.


De las clásicas salas a Netflix: cómo cambió la audiencia del cine en Chile en el último medio siglo

De las clásicas salas a Netflix: cómo cambió la audiencia del cine en Chile en el último medio siglo.

El año 1967 fue el de mayor asistencia en la historia de nuestro país: se vendieron casi 75 millones de entradas, en un país que tenía nueve millones de habitantes. El año pasado, considerado bueno, fueron 21 millones. ¿Qué pasó entre medio? Opinan directores, exhibidores y académicos.

 

peli4El año 1967 fue histórico. En el mundo, The Doors debutaba con un disco homónimo, Israel enfrentaba la Guerra de los Seis Días y en Bolivia era asesinado Ernesto “Che” Guevara. En Chile, Violeta Parra se quitaba la vida, se inauguraba el aeropuerto de Pudahuel, nacía la revista “Paula” y un grupo de estudiante de la UC se tomaba la Casa Central para popularizar el lema “El Mercurio miente”.

En el mundo de las letras, un 5 de junio de ese año, en Buenos Aires, sale a la venta Cien Años de Soledad, de Gabriel García Márquez. Y en el teatro, Alejandro Sieveking, la rompe con Tres tristes tigres.

También fue un momento histórico para el cine en nuestro país. Se estrenaron películas como El tango del viudo, de Raúl Ruiz, Érase un niño, un guerrillero, un caballo, de Helvio Soto, y también Largo viaje, de Patricio Kaulen. En cuanto a la cartelera internacional, Luis Buñuel estrena Belle de jour y dos cintas reflejan la insurrección juvenil: El graduado, protagonizado por un joven Dustin Hoffman y Bonie  & Clyde, encarnada por Warren Beatty y Faye Dunaway.peli3

Por impulso del cineasta Aldo Francia, ese año se inauguró el Festival Internacional de Cine de Viña del Mar. En los cines, los espectadores se deleitaron con cintas como Blow up de Michelangelo Antonioni, Una condesa de Hong Kong (con Marlon Brando y Sophia Loren) o La mujer perdida con Sara Montiel.

Pero además en 1967 se vendieron en los cines casi 75 millones de entradas, en un país de nueve millones de habitantes, una cifra no superada hasta hoy.

Como dato, el 2013, que fue un año considerado bueno, se cortaron 21 millones de boletos, el doble que en el año 2000, pero menos de un tercio que 46 años antes. Recién en 2012, por primera vez desde 1978, se batió la cifra de las 20 millones de entradas.

De 37 cines a 1

¿Qué pasó entre medio? ¿Cómo el centro de Santiago pasó de tener 37 cines a apenas un complejo Hoyts con ocho salas en la actualidad? ¿Por qué desaparecieron los Astor, los Ducal, los Gran Palace, los Lido y los Rex, por no nombrar los cines comunales de El Bosque (paradero 33 de la Gran Avenida), el Maipú (5 de Abril con Pajaritos), el Nacional (de Puente Alto) o el Plaza de Talagante?

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“Creo que la cantidad de espectadores que existía en 1967, contrastada a la que existe hoy, que es impactante, se debe a la cantidad de ventanas y opciones para ver películas, TV, internet, VOD, DVD, etc., que existe hoy”, reflexiona la cineasta Tatiana Gaviola. “La gente ve desde su casa y se ha perdido el ritual de la sala”.

“En esa época la televisión estaba en sus inicios, no existía el video, ni los cassetes de música, ni los CD, menos Internet”, coincide Alejandro Caloguerea, gerente de la Cámara de Exhibidores Multisalas (CAEM). “La transformación es obvia: aparecieron todos esos formatos de entretención”.