BibSonomy publications for /tag/popularityTue Jan 10 11:11:08 CET 2012New York, NY, USASAC '08: Proceedings of the 2008 ACM symposium on Applied computing2432--2436Ranking with tagging as quality indicators2008bipartite_graph indicator popularity quality ranking reliability Sat Jun 18 20:19:46 CEST 2011IJACSA - International Journal of Advanced Computer Science and Applications3100--103{The Impact of E-Media on Customer Purchase Intention}22011- cellphones,communication chat,social connected e-discussion,14,22,27,47,anticipate internet networking of,as popularity scientists,e-discussion,e-mail,grow,online the to,website,worldwide websites Mon Jun 13 14:55:39 CEST 2011Los Alamitos, CA, USAIEEE Internet Computing441-49Blog Popularity Mining Using Social Interconnection Analysis142010blog interconnection mining popularity Tue Apr 26 11:47:15 CEST 2011Marketing Science3391-406A choice model with conjunctive, disjunctive, and compensatory screening rules232004popularity reception Many theories of consumer behavior involve thresholds and discontinuities. In this paper, we investigate consumers' use of screening rules as part of a discrete-choice model. Alternatives that pass the screen are evaluated in a manner consistent with random utility theory; alternatives that do not pass the screen have a zero probability of being chosen. The proposed model accommodates conjunctive, disjunctive, and compensatory screening rules. We estimate a model that reflects a discontinuous decision process by employing the Bayesian technique of data augmentation and using Markov-chain Monte Carlo methods to integrate over the parameter space. The approach has minimal information requirements and can handle a large number of choice alternatives. The method is illustrated using a conjoint study of cameras. The results indicate that 92% of respondents screen alternatives on one or more attributes.Sun Mar 13 22:54:33 CET 2011Popular Communication3203–207The Recession and the American Comic Book Industry: From Inelastic Cultural Good to Economic Integration82010comics popularity reception usa Sun Mar 13 22:51:33 CET 2011International Journal of Comic Art2The Commercialization of Comics: A Broad Historical Overview11999comics popularity reception Fri Jan 21 14:14:37 CET 2011Kunstgeschichte. Open Peer Reviewed JournalThe popularity of works of art2011art audience culture media myown popular_culture popularity readership reception theory This text reviews different notions of popularity in scholarly literature through time, and groups them into broader definitions on the one hand, which define popularity as a combination of esteem and fame (»well-liked by many people«), and narrower definitions on the other hand, for which certain characteristics (e.g. low quality, or a lower-class audience) are essential. Although broader definitions are more intuitive and less complex, narrower definitions have always been predominant in scholarly literature. However, if popularity is seen as a property of a work of art that can exist in varying degrees, rather than a category to which an object can either belong or not, it can be applied in its broader sense to any work of art.Fri Jan 14 11:06:49 CET 2011Anatomy of the Long Tail: Ordinary People with Extraordinary Tastes2010popularity reception The success of “infinite-inventory” retailers such as Amazon. com and Netflix has been ascribed to a “long tail” phenomenon. To wit, while the majority of their inventory is not in high demand, in aggregate these “worst sellers,” unavailable at limited-inventory competitors, generate a significant fraction of total revenue. The long tail phenomenon, however, is in principle consistent with two fundamentally different theories. The first, and more popular hypothesis, is that a majority of consumers consistently follow the crowds and only a minority have any interest in niche content; the second hypothesis is that everyone is a bit eccentric, consuming both popular and specialty products. Based on examining extensive data on user preferences for movies, music, Web search, and Web browsing, we find overwhelming support for the latter theory. However, the observed eccentricity is much less than what is predicted by a fully random model whereby every consumer makes his product choices independently and proportional to product popularity; so consumers do indeed exhibit at least some a priori propensity toward either the popular or the exotic. Our findings thus suggest an additional factor in the success of infinite-inventory retailers, namely, that tail availability may boost head sales by offering consumers the convenience of “one-stop shopping” for both their mainstream and niche interests. This hypothesis is further supported by our theoretical analysis that presents a simple model in which shared inventory stores, such as AmazonMarketplace, gain a clear advantage by satisfying tail demand, helping to explain the emergence and increasing popularity of such retail arrangements. Hence, we believe that the return-oninvestment (ROI) of niche products goes beyond direct revenue, extending to second-order gains associated with increased consumer satisfaction and repeat patronage. More generally, our findings call into question the conventional wisdom that specialty products only appeal to a minority of consumers.Wed Sep 29 11:49:18 CEST 2010Wirtschaftsdienst1Warum gibt es Stars? - Drei Erklärungsansätze2001popularity toread In der Unterhaltungsbranche sind die Einkommen ausgesprochen ungleich verteilt. Einige wenige Stars erzielen im Vergleich zur Masse der Anbieter Spitzeneinkommen. Welche ökonomischen Mechanismen tragen zur Existenz von Superstars bei?Wed Mar 24 11:05:04 CET 2010ECCS2008SeptemberDissecting the Canon: Visual Subject Co-Popularity Networks in Art Research2008art popularity priorität:5 reception 3 An important question in art history and archaeology is the definition or emergence of canon, i.e. the set of most important objects, which everybody knows or supposedly should know in a given area – such as Da Vinci’s Mona Lisa and Botticelli‘s Venus in painting, or the Colosseum and the Pantheon in architecture. In this paper we show that canons are identical with the most popular items over a distribution of popularity, which happens to be highly heterogeneous. Furthermore we show that the global distribution of popularity can be dissected into sub-distributions with respective sub-canons. As a consequence we can explore the meaning of canon by looking at the co-popularity of visual objects in general, no matter if the objects belong to the head or the tail of the popularity distribution.Mon Feb 22 21:17:45 CET 2010Indian philosophical quarterly4471-481Popular Art: New Angle292002art popularity read reception Thu Feb 18 17:38:50 CET 2010Wagga WaggaAustralian children's literature: An exploration of Genre and theme177-188Popular literature versus literature that is popular1995literature popularity read reception Wed Feb 10 11:37:45 CET 2010The Journal of aesthetics and art criticism2119-135Pursuing the Popular571999popularity read reception Wed Feb 10 11:36:00 CET 2010<I>The Oxford Handbook of Aesthetics<D>, Levinson, Jerrold (ed)733-747Aesthetics of Popular Art2003aesthetics art popularity read reception Wed Feb 10 11:34:22 CET 2010Philosophy Compass3380-395Searching for the 'Popular' and the 'Art' of Popular Art22007art popularity read reception Wed Jan 27 08:30:32 CET 2010Critical Inquiry4808--833Popular Culture on a Global Scale: A Challenge for Cultural Studies?231997popular_culture popularity read reception Wed Jan 27 08:19:30 CET 2010The Journal of Aesthetics and Art Criticism3351--364The Aesthetics of the Popular Arts241966aesthetics art popularity read reception Wed Jan 27 08:17:23 CET 2010The English Journal3129--139Some Poetry Is Popular--But Why?461957literature popularity read reception Wed Jan 27 08:15:19 CET 2010College English8479--485Popular Arts and the Humanities161955art literature popular_culture popularity read reception Wed Jan 27 08:10:50 CET 2010Sociological Forum3387--414Culture and Stigma: Popular Culture and the Case of Comic Books212006comics popular_culture popularity read reception This paper argues that a better articulated conception of stigma can enhance the analysis of popular culture. Beginning with the work on stigma by Erving Goffman and other scholars, the article contends that the stigma sometimes attached to the production and consumption of popular culture is distinct from the low status associated with certain forms of popular culture. Unlike low status, stigma discredits cultural forms and practitioners often rendering them problematic. This reassessment of stigma is applied and developed further through a study of comic books, showing the various ways stigma can operate in popular culture. The analysis suggests that stigma significantly impeded the evolution of the comic book as an art form, illustrating the potential negative effects of stigma in popular culture.popularityCommunity for tag(s) popularity