How marketers use state-of-the-art medical devices

 

 

Select any one of the following starter bullet point sections. Review the important themes within the sub questions of each bullet point. The sub questions are designed to get you thinking about some of the important issues. Your response should provide a succinct synthesis of the key themes in a way that articulates a clear point, position, or conclusion supported by research. Select a different bullet point section than what your classmates have already posted so that we can engage several discussions on relevant topics. If all of the bullet points have been addressed, then you may begin to reuse the bullet points with the expectation that varied responses continue.
Many people have participated in a market research survey at some time in their lives. With reference to any survey that you actively participated in, discuss the questions that follow. If you have not experienced a market research survey, take a survey on the Internet:
Evaluate how effective the survey was in measuring how you felt about a product.
Explain whether you feel your response in the survey helped improve or will improve the product being marketed.
Describe how you might have gathered information differently so that the survey was more effective.
Explain why it is important for marketers to monitor current trends in marketing. How does a marketing information system identify and measure trends? How would you design a marketing information system for a product of your choice?
When Henry Ford marketed the Model T a hundred years ago, he stated customers could have any color they wanted as long as it was black. We have come a long way since then. The types and variety of cars have exploded, and now cars are available in a multitude of colors.
Identify the different segments of the automobile market.
Discuss the types of people who buy minivans, pickup trucks, sports cars, SUVs, compact cars, and luxury cars. What are the benefits for the auto companies to segment the market? Give reasons for your answer.
Determine if it is possible for a company to attract customers from one market segment into another market segment and still earn a profit. Explain why.
Martin Lindstrom wrote a book called Buyology describing how marketers use state-of-the-art medical devices to measure how brain activity changes and is stimulated by advertising. The goal is to understand how advertising directly impacts brain activity in order for marketers to develop more effective advertisements, which (theoretically) no one will be able to resist.
Assess each of these strategies and provide an example for each category.
Out of the four strategies, choose a strategy that best suits growth in a company of your choice and justify how you would use this strategy.

 

 

Sample Solution

Picasso’s Painting Les Demoiselles d’Avignon GuidesorSubmit my paper for examination picasso les demoiselles d avignonWe can just envision the effect that this life-size artwork had on watchers 100 years prior. “Les Demoiselles d’Avignon” displays an audacious dismissal for the made-up rules of craftsmanship. In spite of the fact that the artwork was not indicated freely until 1916, Georges Braque saw the canvas in 1907 in Pablo Picasso’s studio before the paint dried. What’s more, what Braque saw changed the hereditary code of his knowledge until the end of time. I speculate that for some specialists today, “Les Demoiselles d’Avignon” has lost none of its pizzazz. Its conflict of powers and thoughts transmits a force that doesn’t blur. Craftsmanship history specialists normally talk about the Demoiselles as far as substance: a massage parlor—five whores in a puzzling room that incorporates a table with still-life (natural product), vaporous textures (tablecloth, window ornaments, garments, backdrop), and perhaps a seat; as far as three significant impacts: Primitivism—communicated through plain sexuality, evenness, geometric structure, and references to Egyptian profile-workmanship (the lady at the left) and African ancestral veils (the two right figures); El Greco (extension/vertical twisting); and Cézanne (geometrization and shallow profundity of the pictorial field, just as echoes of Cézanne’s compositions of bathers in the course of action of nudes); regarding illustrative gadgets: the owl-like head swivel of the situated lady on the right (an early, exacting case of “synchronization”) and the profile-like leveling of the noses of the two ladies second and third from the left; or as far as the geometric proper numbers that involve the skeptical tasteful framework (triangles, wedges, precious stones, ovals, trapezoids, and mixes of these shapes), another sign of the long shadow cast over the entire canvas by Cézanne. In any case, standard conversations once in a while test the more profound spatial capabilities of the composition. Analysts do concur on the rudiments: the 3-D picture space dwells in a domain of uncertainty, connoted partially by forceful dissecting and foregrounding of body parts, (for example, the left hand of the lady on the left, the left leg of the second lady from the left, and the leader of the situated lady on the right). Through these and different gadgets of visual clash, Picasso got back on track and plumbed an inalienably structural part of the work of art’s association: space. Because of Picasso’s quest for better approaches to sort out a stylish field and accommodate 3-D structure with the level picture surface, the Demoiselles viciously overturned the “laws” of straight point of view held consecrated since the Renaissance and tested the shows we partner with how to speak to ordinary space. At last, as painter/essayist John Golding and others have commonly watched, the transaction of structure and space in the Demoiselles adds to a Cézanne-like round of assertion and forswearing opposite the dream of perspectival space versus the truth of the levelness of the artwork’s canvas. Collapsed surfaces (textures), collapsed structures (bodies and dividers), and collapsed spaces (inside/outside) show up with dumbfounding identicalness—wavering between oppositional values: crack and combination, projection and downturn, volume and plane. “In Violin” and different arrangements by Picasso, Braque, or Juan Gris, the idea of “Les Demoiselles d’Avignon”— who speaks to what is named as critical space—works as a controlling standard. Furthermore, from painters to stone workers to designers, craftsmen today who tap this ageless rule become structure creators, yet in addition space producers. These specialists get familiar with the key to turning out to be plan creators. This paper composed by Madison Gray and significant changes have been made. The full duplicate of this exposition is at: https://archive.org/subtleties/PicassoLessons craftsmanship article, paper about fam

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