[PDF] - Project Presentation Script Good afternoon Keith and welcome PDF Document

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Project Presentation Script Good afternoon Keith and welcome to

project’s progress presentation. Today, myself and the eleven

incredibly talented arts students that stand behind their

computer screens, thank-you for joining us

Amongst the midst

the developing coronavirus and its strict precautions, it is evident that

dedication to each

persistence and

communication has allowed us to continue doing what we do best: creating artistic works. Collectively,

project team has embraced the many challenges which have arisen from this pandemic and are currently in the process

formulating a project in which we are all extremely proud

Our project, entitled ‘System Reset’, ultimately aims to raise awareness for the environmental issue

climate change in which each

us hold a mutual passion for. Before we go into a more in-depth explanation

project and its aims, I am going to quickly introduce you to each member

the team and explain the specific production role in which they have been fulfilling. Earlier in the collaborative process, each project team member was assigned to a production role based

their personal skills and strengths. Whilst each member already held an equal creative position, we soon came to realise that further direction in a multitude

areas was necessary. After taking

board the advice in which you kindly provided us, Keith, we were able to effectively allocate six, integral production roles. To begin, I, Britney White, along with Lili Flynn serve as the ‘Production Directors’ for System Reset . Within this vital role, we have ensured to set deadlines and tasks, frequently remind

team

these, brainstorm exemplar posts and captions, finalise important

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documents, complete all necessary paperwork and make final decisions where necessary. Simone Muirhead and Lily Whitaker hold the imperative role

project’s ‘Creative/Conceptual Production Team. These two members are responsible for writing agendas for each group meeting, conceptualising response ideas, keeping the smaller creative groups informed

any developments and work closely with

roles, to produce creative deadlines. Matthew Bengtson and Anthony McHale are System Reset’s ‘Arts/Science Liaison Team’. This valued role is responsible for ensuring that

clients are successfully informed

project’s progression, that

project ultimately fulfils

client’s aim and that necessary research is being completed by each project team member in accordance with the devised deadlines. Jakob Perrett and Jess Moor hold the integral role

project’s ‘Collective Media Assets Development Team’. This creative pair have been working very closely with

Instagram page to produce AR Face Filters, to successfully encourage engagement with

followers, and were responsible for producing

project logo and

needed designs. Brooke Dunlop and Sofija Piletic are System Reset’s ‘Ongoing Broadcasting/ Dissemination Team’. These two members have effectively communicated marketing techniques and have further ensured that these are adhered to when posting

project’s Instagram page. By

appropriate hashtags to use under each

posts and

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seeking applicable ways to gain followers, this pair are mainly responsible for

increasing follower count. Finally, Bella Deary and Sam Duffy are

project’s ‘Final Outcome Integration Team’. In fulfilling this essential role, this pair have successfully constructed a format for

final documentary, have worked closely with the ‘Creative/Conceptual Production Team’ to design an aesthetic layout for the Instagram posts and are proactive in brainstorming cohesive structures in preparation for

final film. Each

these aforementioned roles are extremely important and works coincide with

another to distribute the workload, ultimately helping us to work productively towards producing a credited final product. I will now pass

Lili who will read you

now

Statement . Thanks Britney. As a team we understood early

that it was imperative to

clear values and expectations to uphold throughout

production stages as this is ultimately proven to “free up the mental space to be creative.” (Grover, 2019). Within

devised value statement, we collectively agreed to ensure that each individual's creative discipline and personal skill sets would be included in

final product. We agreed to keep an

mind, be adaptable and, ultimately, respectful. We also acknowledged that whilst things may get tough throughout

project, especially with

continually increasing limitations, we would all persevere

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and problem solve to the best

abilities. Continuing into creation, we agree to keep engaging all

individual skill sets, sustain strong working relationships and strive to contribute to the work equally. We continue to listen and share everything we do, negotiating when necessary. Through consenting to stand by these values

the course

production, we have, and continue to, produce a healthy and positive environment, ultimately helping us to create a project we can all be proud

Speaking

this project, I will now provide a brief project

before handing

to

creative/conceptual directors. ‘System Reset’ is a collaborative artwork designed to educate and inform audiences

climate change, specifically the issue

consumerism within it, and provide easily accessible lifestyle changes for them to implement. Climate Change has been labelled the most significant issue

generation, and yet global efforts to engage it have so far failed to create the required shifts in

behaviours. One

the issues within this is evidently the lack

trust in scientists from a considerable amount

the population. In this project we hope to provide not

further insight into the issue

consumerism, but also enable the scientists to have more

a voice and convince

audience to listen. In attempting to reach mass audiences,

project will consist

an Instagram account, where people are able to engage with

team and are progressively updated

progress. Through this account they will also have access to AR face filters, where they can see the effect consumerism is having

the environment personally. These two smaller projects are to go alongside

main project, a political film. This five minute YouTube film will have three sections. The first showcasing the effects

consumerism, the second exploring science and why people should trust it, and the third will focus

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changes, through which audiences can progress towards creating a more sustainable future. Ultimately,

team will create by actively mixing the disciplines

animation, dance, drama, film, music, poetry and visual arts. This project will be

to the Samford Ecological Research Facility, better known to us as SERF, to be used as a vehicle for encouraging engagement and confidence in Climate Change science. Now that you have a basic understanding

what

project entails, I will pass

to Lily to go into more detail. Thanks Lili, as said earlier ‘System Reset’ will take the form

a YouTube film that follows a three act structure. The fundamental premise

this film will be to emphasise tangible sustainable living practices, presented to

audience with a hopeful undertone. The three-act structure will commence with an introduction to human-induced climate change and its impacts. The film will then transition into reasons why we should trust science, especially when it comes to climate change. The film will conclude

a positive note, detailing what will happen if we reset the system and adopt non-consumerist and ecocentric values. This section will also detail more specifically, what these values and practices are. The adoption

this structure is a response to ‘System Reset’s’ need for cohesivity and flow. Using this three act structure, we will be able to draw inspiration from the group’s previous creative experimentation. This way, we will also be able to accumulate

ideas, research and skills in a symbiotic manner where all group members will be given equal means and

to contribute to the

the film. The film will explore both visual and sonic elements where audiences will be taken through a five minute journey. Sonic elements

the film will include field recordings from SERF,

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and spoken-word poetry. Visually, the film will include a vast array

creative mediums, including painting, animation, written poetry, dance and performance. These diverse disciplines will unify to communicate this three-part account effectively. Each segment

the film will be linked through both a consistent soundtrack and a recurrent visual

eyes

reflecting a metaphorical message in which we will soon explain in greater detail. Conceptually, this film will possess both confronting and hopeful moments. ‘System Reset’ aims to educate, inform and empower audiences to listen to science and ultimately adopt sustainable living practices. The film will conclude with a prompt to access the project’s Instagram account, which deconstructs the film's process

creation. I will now pass

to a member

each section to explain these three sections more in depth, starting with Jess. Thanks Lily. To begin, Section One, will creatively present the harmful effects in which ‘consumerism’ has

environment. In brainstorming an

image for

creative work, myself, Britney, Jakob and Lili became interested in exploring the metaphorical idea

humans "opening their eyes" to the detrimental effects

climate change. By starting

creative work with a close-up

a person physically

their eyes, with the image

a ‘burning world’ being reflected into the pupils, we believe we will be able to effectively communicate the aforementioned message and will immediately grasp

audience's attention. Whilst this simple image has proven to work particularly well in

introductory section, after further brainstorming with the rest

project team, we all agreed that this would be an effective motif to carry

throughout the entire film as we ultimately want

viewers to

up their eyes to learn to trust scientific facts and further be guided by

presented progressive solutions. As each section

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includes

focus character,

decision to use a 3D-model is efficient as we can easily modify the model to appear as the character

each section. The digital-like appearance

the character also supports the fact that we are currently living in a digital age. We want

viewers to understand that whilst it is important to see

in real form, we also have

personas which are just as important. Going back to Section One, after seeing this powerful first image,

viewers will witness an intense chess game. The chess game, which will exemplify Britney versing herself symbolically represents the act

‘consumerism’. As the term ‘consumerism’ “postulates that consumers’ happiness and well-being can be achieved through consumption" (Papasolomou, 2013, para. 1), we collectively decided that the utilisation

a well-known board game would be most successful in symbolising this destructive act. Chess was picked as it consists

strategic, self-serving moves and in

to win,

must take the

player’s pieces. Furthermore, since "

is leading to an unacceptable level

inappropriate social behaviour that is detrimental to both society and

environment" (Slater & Yani-de-Soriano, 2009, para.1), we were able to reflect this again with the simple decision to have

focus character playing a board game, since it notably causes both sides to act selfishly. Moreover, by Britney versing herself, the audience can understand that she is having an internal battle within her mind, further communicated with the accompanying, dramatic music. Having her costumed in both black and white not

corresponds with the colours

the chess pieces, but also has the ability to demonstrate that she is, like us, living in a monochromatic world. To further

discussion

the environmental impacts

climate change, each chess piece will be a tree, created by animating an

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illustration

the video. With the pieces being trees, Britney will remove them as she plays, suggesting that people are taking too much from the world, and in doing so are damaging both the environment and themselves. This will also be further demonstrated through the visuals playing before and after each “move”. These visuals look at consumerism through animated portrayals

fast fashion, the meat industry, and waste. They will be edited between the chess game, acknowledging the film theories

the Kuleshov Effect: the mental phenomenon where the audience derives more meaning from two shots back to back rather than a singular isolated shot, and the Soviet Montage: creating a psychological response in the audience based

the arrangements

shots rather than a chronological sequence. To conclude

piece, the viewers will

both

the focus characters grabbing the

Britney’s ‘king’ at the same time. The players will then be seen reflecting upon their actions, prompting the audience to do the same. I will now pass

Sofija to explain section two. Thanks Jess. Section two explores the complexities involved with trusting science within this

world and the implications

relying

information in the media

science. We investigate and convey to

audience the detrimental effects this contemporary misconception has

the earth. We want

audience to be sure that within this climate crisis the expertise

scientists should be trusted

all

sources, especially when bombarded with everything but.

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This conflict is expressed through Anthony dancing within Brooke’s 2D painting and collage, making it interdimensional, critiquing humanity’s place within a fragmented, dark and lifeless cityscape. The imagery here is static and abrupt due to the stop motion effects used not

to tie together with the

sections but to represent a miscommunication between nature and humanity. Both artists have worked with intertwining emotions within their work through use

colour and movement that gradually transform to lush, vibrant and healthy landscapes. Posing the question to

audience, ‘does the earth really need us when it has proved, in this pandemic, that it will always replenish if we give space for natural

This is the beginning

what ecology has taught us. The interaction between the earth and humans should no longer be a conversation but an active act

listening and reformation. Matthew and I have worked

a poem that articulates what this conversation has looked like for far too long and follows the same structure as the visuals. Our multilayered, interdisciplinary video is placed in the middle

the project and must act as a transitional platform to link both

sections

the film together. Our poem will be carried

the entire film, also assisting in creating cohesion. Effectively

group have further delved into creatively manipulating the continuation

narrative. Alongside this we have played with tonal aspects that interact with

another. As the visuals

screen develop so does the poetry and sound. Beginning quite argumentative and accusing the poem gradually becomes an understanding between earth

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and humanity where scientific facts are held most important by the earth in

to live interchangeably together as sustainable stewards. Matthew’s voice represents the earth, his style

poetry is intentional and structured which juxtaposes with my

which represents humanity. My voice lacks structure as it is more free verse and appears quite random in comparison to Matthew’s. We have done this

purpose to represent the earth having more intention and precision with everything it does than humans who are riddled by emotion and greed. Both sides are complex and we have taken particular care in writing in a way that carefully represents both sides as important, particularly the many facets

humanity expressed and acknowledging that we could never express all justly. Furthermore, the sound, recorded by Matthew, is used to show the major tonal differences in all artforms within the video. A saxophone and drum tones will support the harsher, more confronting imagery and conversation at the beginning

the video, which will then gradually fade into the forest recordings collated from SERF. The recordings will support brighter, more natural themes in the latter part

the video that concludes how nature holds all the answers we need and the best way to understand these are in science, not

media

I will now pass to Sam to explain the final section. Thanks Sofija. Within the third section

film, Bella, Lily, Simone and myself will be focusing

providing sustainable living practices with the ultimate goal

encouraging

viewers to adopt non-consumerist and ecocentric values. The digital illustrations, which will be included in

animation, are simple and minimalistic, serving the purpose

establishing a setting for the main character

Simone to respond to. They will include imagery such as grocery

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stores, supermarket shelves, roads, footpaths, recreational electronics, and plastic bags. Within these illustrated settings, both sustainable and unsustainable lifestyle

will be highlighted, including the example

comparing processed foods with

food,

plastic bags with reusable bags. The polarity between these settings and the lifestyle

they contain will aim to provide firm ground to demonstrate the character’s changing values as she reconsiders where to shop, what products to use, and which modes

transport to use. The examination

each

these juxtaposing lifestyle choices will be done through a fast-paced, upbeat animation to clearly draw attention to the

and systems under scrutiny. To bring the illustrations to life, each element

the film will flip up from the background much like that

a pop-up book. This style will allow the audience to easily understand the environments that the characters will be in whilst also keeping the shots visually interesting. The characters will be animated from photographs

people with a loose mask around their bodies to give the illusion that the characters were cut from

magazines

books. This cut

style will be further enhanced with a reduced frame rate to make the sequence look as if it was a stop motion animation. All

these elements will work together to look as though they are real

that the audience could pick up and play with themselves. Thus, this will further enhance the message that each

the displayed practices and values are something that anyone can pick up and work into their lives. The art style

the animation was created in a way to invoke a childlike feel and, ultimately, adds a feeling

nostalgia to the piece. “Clinging to pleasant memories

the past enables individuals who face major life‐cycle discontinuities to

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maintain their identity in the face

transitions.”( Meyers, 2009) The steps in the right direction that the film is proposing are a change in lifestyle, no matter how small each

them seem, they will take a little while for people to get used to. By having visuals and a style that allows them to feel connected to their normal life will make the changes seem less drastic. In an attempt to build sonically creative and engaging content for

audience,

group wanted to focus

sensory manipulation through Autonomous Sensory Meridian Response. This meant that members

the group recorded materials relating to the animated actions (i.e. the crisp rustle

plastic bag versus the smooth canvas

a reusable bag) to create a textural sound journey. In doing so,

group is providing both visual and audible evidence

sustainable living practices. The juxtapositions between unsustainable and sustainable living practices are intensified through sonics, where unsustainable visuals are accompanied by

and unpleasant sounds created using unsustainable

In contrast, sustainable visuals are accompanied by serine field recordings

the natural world. These ideas were expanded upon using a variety

sound production techniques. Examples include automated stereophonic panning to create a broad stereo image for audiences and the use

reverberation and sonic layering to create the previously mentioned

sounds. When

research such as Michel Chion's Audio Visual Zones , it is evident that sound is pivotal in influencing an audience's understanding

a message (Chion, 1976). Through this previously mentioned sensory manipulation, we hope to influence the way that audiences feel when viewing sustainable versus unsustainable living practices presented in

film.

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So why YouTube? As a result

the current COVID-19 pandemic, all members are isolated in

respective homes. This meant that we had to think critically and creatively about methods

combining

disciplines cohesively

while still achieving

fundamental goals to educate, inform and empower. This process involved both a thoughtful pairing

group members and creative and collaborative experimentation establishing how

varying disciplines could be amalgamated and excelled. We took advantage

the fact that most

the population is at home using technology, and presumably browsing

chosen platform. YouTube is an ever present platform, especially in

current circumstances, as a result

several beneficial features. The main advantage

this platform is that it’s free and accessible which successfully ensures a global reach (Wykes, 2012). Our research suggests that films can intelligibly shape the way audiences make sense

the world we live in right now – an element which is imperative in reaching

project aims (Jennings-Edquist, 2020). We specifically chose this medium because

its proven ability to incite social change through a representation

broad perspectives and sensory modules which

raise politically charged questions and inspire empathy (Jenninngs-Edquist, 2020). It also provides a way that ensures

disciplines all play an equal role where creativity has no limits. Through the combining

YouTube film and social networks, ‘ System Reset’ aims to provide audiences with reasons to live sustainably, where

content seeks to entertain, educate and interact with every audience member these platforms allow (Gielen, 2012). We hope this has provided you with a solid understanding

the film aspect

project, I will now pass

to Brooke who will give you an insight into

creative Instagram page.

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Thanks Simone. For

project ‘System Reset’, we decided to create an Instagram account to help promote more interaction and engagement with

audience. Ultimately, we want

audience to be exposed to the progress

project and artistic experimentation. We encourage them to comment, provide us with feedback, and like

posts. We have strategically decided to use the Instagram platform as it has been proven to be the easiest site to grow a following for a collaborative art team like

It also has the ability to share and connect with the audience through many features

the site. We are currently following a schedule, which effectively

the dates in which we will post. These posts include an introduction to the team members, scientific knowledge (that fit the themes within the project), and finally delving into snippets

the final piece, showing how it has been created. We will also use different features

Instagram such as stories and IGTV, using these to engage the audience further without disrupting the layout

posts. We planned a layout for

posts, so when looking at the account page it would create the image

a tree, inspired by a similar

we saw when visiting SERF. We have chosen the image

a tree as it is a highly recognisable image,

used in climate change campaigns, and relates directly to the environment. Since a tree is also a stereotypical image used to reflect ‘growth’, we also believe it will be effective in showing the progress

creative works. To get the public informed about this page, we have settled

using many varying advertising techniques which include using specific hashtags, promoting the page

personal accounts, and following like-minded pages that show support

project. These

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specific marketing techniques will be used for

collaborative project as they assist in advertising

page to a broad audience. By initially promoting the page

each

personal accounts, we were able to grow a following

supportive friends and family. The further use

hashtags is continuing to assist us in exposing

page to people that either follow

look up those hashtags, realising that they are

potential audience. Within this, we can acknowledge the existence

a climate change community. Getting involved within this community will also be beneficial as it creates an

to not

be seen, but to bounce ideas and concepts

peers and gain feedback. This is to extend

reach to a broader audience, ultimately promoting

final film. As mentioned previously,

followers and the public will have access to AR Face Filters through this instagram account. I will now pass

to Jakob to explain this further. Thanks

the beginning

project it became clear that we wanted the artwork to facilitate an element

interaction with the audience. With the intention

engaging the senses in

to elicit a heightened feeling

empathy, an emotion that is

hard to evoke through science alone,

artwork will take a physical form. With the introduction

social distancing practices and a new limitation

how

artwork can be executed, we endeavoured to explore

for audience participation within a purely digital capacity. Instagram’s AR filter functionality transports

artwork into the participants place

isolation and simulates the illusion

physical interaction. Through research

interactive art’s success in engaging audiences, we discovered a pleasure framework by Brigid Costello that identifies categories that activate this intrigue. These include creation, discovery, exploration, simulation, and fantasy to name a few. Using these categories as a catalyst for creating

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filters ensures their success in reaching

initial goal

engaging

audience

a deeper, more empathetic level. It brings the climate crisis we are currently facing to the forefront

not

their mobile screens but also their conscience. Uploading them for use

Instagram page, also allows for further interaction with the concepts

project after the main film has been viewed. In respect to what these AR creations would look like, they would be comprised

the visual elements presented in

main film. Again, this solidifies and encourages the viewers to develop a deeper understanding

the concepts within the film as they digitally project into the lives

audience. I will now pass

Matt to explain how we are linking science and art. Thanks Jakob. As a team we believe that it is extremely important for us to take advantage

the knowledge that

clients from Stamford Ecological Research Centre can provide us. We have ensured to stay in contact with the Clients at SERF, in

to successfully keep the clients up to date with how the project itself evolves and ask for their input into the content

Instagram page and

final film. We have found that the constant communication with the clients has greatly aided us when trying to adhere to the initial aims presented to us in week three

this semester. A great example

this is when communicating the dark

noir aspects

the film to the client, they quickly emailed back with their

the context

the film, and proposed that instead

a darker tone, that we instead employ a lighter tone through the addition

a comedic aspect, to keep the film from being too aggressive and intrusive in the perspective

the audience (Professor Firn, 2020). We have also been given the strict aim, from the clients, that they would like us as the project team to explore how the arts can give

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science a creative voice and prove to

audience that scientists and their research can be trusted in the climate fight. Originally, we wanted to interview

clients, in regards to environmental science topics, and record their answers to use throughout

piece. However, the clients have specifically asked not to be recorded because they believe they should not be the central figures

the project. It is apparent that many people in the community do not trust science’s perspective

climate change because either the facts presented by science are harsh

the statistical and graphical evidence is difficult to piece together. Amelia Unsicker (2016, p.17-18) makes an interesting point when it comes to scientists and their research

the climate crisis. She states that it is the job

a scientist to complete research, find solutions and present these findings to like-minded individuals, not the breakdown and explain their research to the public. This is where we believe the discontent

the public lies and what the project team wishes to alleviate. We are proposing that by having the clients, who are able to pass

their knowledge by giving their perspective and explanations

climate change in a creative environment, as a way

gaining a better understanding

the issue, we will be able to prove to society that science should be trusted in the matter

climate change in particular. As stated previously, the role

a scientist is to research and present the findings

said research. Especially in the case

climate change research, many individuals within the public domain are greatly concerned about the climate fight and what they can do to assist the environment. Research has proven the unfortunate downside

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to the public's thirst for knowledge about climate change, is that more

than not, the information they receive is not received directly from the scientists researching the issue, but rather from newspapers and magazines etc. The information sources

dilute the facts

form a biased

the issue without allowing the public a look into the scientific evidence behind the arguments and

being collated (Saunders, 2013). It is also important to note that information posed in the media can differ from source to source, however,

advantage in receiving information from an unbiased source, in this case

clients researching climate change’s effects

the planet, you are ensured the most accurate information

the issue as possible. I will now pass

Bella to explain how we, as a project team, plan

summarising

processes and

within

final documentary. Thanks Anthony. We envision this documentary being a five to eight minute film that will deconstruct

project

by demonstrating

creative process and explaining the purpose and meaning behind this resulting project. The documentary will act as a medium to demonstrate

making process through a series

interviews with creatives and scientists along with footage and photographs

group meetings and collaborative development throughout this process. This documentary can be framed as a follow

film from

creative project which deconstructs the creative themes and scientific concepts prevalent in

creative work. Throughout this documentary we will aim to provide an answer to the question

how the arts can be re-imagined in this time

climate change by using

collaborative film as evidence that creatives from multiple disciplines can create a stronger message when banding together to interrogate an issue.

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Within the introduction

the documentary there will be a compilation

interview segments with representatives from each creative group; an introduction to the SERF site using photos and videos; and an explanation

how multi-disciplinary collaboration is an effective response in this era

climate change and COVID-19. The middle part

the documentary will cover: The film’s key themes; documentation

iterative progress and interviews with creatives to explain the development

the creative project: from partnership projects to group projects to

final project

a montage

group meetings to highlight

unique communication and meeting process and production roles, a synopsis

final

and an explanation

how instagram was integrated to form an interactive component to

project. The documentary will then conclude by recapping how the piece was created for SERF and how the collaborative effort between artists and scientists successfully addresses the detrimental issue

climate change. This documentary will be presented via YouTube and shared with

followers

instagram who are interested in viewing

creative process. In conclusion, we are all extremely proud

creative progress, current collaborative experimentations and dedication to fulfilling

client’s proposal. As we prepare to finalise and publically share

final work

YouTube

the next few weeks, we are determined to continue working towards creating cohesion between

sections and engaging with

Instagram followers. We are excited to share with you

work so far, but are even more excited for what is in store

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within the upcoming weeks

project. We hope you enjoy this draft

film:

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References Chion, M. (1976). Three Listening Modes. In C. Gorbman & W. Murch (Eds.), Audio Vision: Sound

Screen (pp. 25-35). Columbia University Press: New York. Chion, M. (1994). Sound

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Grover, John. (2019). Success Comes to Those Who Embrace Challenge. Endsight. https://www.endsight.net/blog/success-comes-to

Jennings-Edquist, G. (2020). 5 very real benefits

watching movies. ABC Life https://www.abc.net.au/life/benefits-of-watching- movies/10830400 Meyers, O. (2009). The Engine’s in the Front, But its Heart’s in the Same Place: Advertising, Nostalgia, and the Construction

Commodities as Realms

Memory. Journal

Popular Culture, 42(4),733–755. https://doi.org/10.1111/j.1540-5931.2009.00705.x

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National Academy

Sciences, National Academy

Engineering & Institute

Medicine Panel

Scientific Responsibility and the Conduct

Research. (1992). Responsible Science: Ensuring the Integrity

the Research Process (1

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Corporate Social Responsibility, 3, 266. https://doi.org/10.1007/978-3-642-28036-8 Saunders, M. (2013). Scientific Evidence: What Is It And How Can We Trust It?. The Conversation . https://theconversation.com/ Scientific- evidence-what-is-it-and-how-can-we-trust-it-14716 Slater, S. & Yani-de-Soriano, M. (2009). Revisiting Drucker's theory: Has consumerism led to the

marketing? Journal

Management History, 15, 452-456. 10.1108/17511340910987347 Wykes, S. (2012). 5 Marketing Benefits

Using YouTube. The Latest in #Digital. http://blog.marginmedia.com.au/Our-Blog/bid/78075/ 5-Marketing-Benefits-of-Using-YouTube

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