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Rzg İklimlendirme olarak, 18 senelik tecrübemize güvenerek, uzman ekibimizle 2014 yılında kuruluşumuzdan bu yana siz seçkin müşterilerimize hizmet etmekteyiz. Merkezi ısıtma sistemleri, merkezi soğutma sistemleri, merkezi havalandırma sistemleri, vrf sistemleri ve yangın sistemlerinin, danışmanlık, projelendirme, uygulama ve kontrolünü, hatasız ve doğru olarak yaparak müşteri memnuniyetini sağlamaktayız. Rzg İklimlendirme özel ve tüzel kişilere sektörümüzde en iyi ve güvenilir hizmeti; yine en güvenilir ve kendi alanında lider firmaların ürünleriyle sunmaktadır.

Merkezi havalandırma ve iklimlendirme sistemleriniz hakkında sormak istedikleriniz için site içi arama yapabilirsiniz. Sitede bulamadığınız bilgi ve sorunlar için iletişime geçiniz. Mevcut sisteminiz için teknik destek, iyileştirme çalışmaları ve arıza bildirimi için e-posta ve telefon numaralarımızdan bize ulaşabilirsiniz.

Merkezi iklimlendirme sistemleri kanal vasıtası ile hava sirkülasyonu sağlar. İçerideki havanın bu kanaldan çekilmesi ile sürekli olarak değişim sağlanır. Merkezi hava sistemi tüm ortama aynı anda ulaşarak ısıtma ve soğutma işlemlerini hızlı bir şekilde yapabilir. Dolayısıyla hem pratik hem de hesaplıdır.

Yangın söndürme sistemleri merkezi olarak çalışır. Yani sistemsel olarak bir yere bağlıdırlar. bir yangın söndürme sistemi, yangınları söndürmek veya kontrol etmek için kullanılır ve ısı, duman veya ikisinin bir kombinasyonu ile etkinleştirilir. Duman detektörü adı verilen bir cihaz oda içerisinde sıcaklığın ani artışını ve buna ek olarak gelişen dumanı takip ederek, yangın tehlikesini hisseder.

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Devamını oku...

from Raphine的操练场

TMNT2003+AU

蓝红 #lr

主要角色死亡

“我恨他。”

我抱起手臂,望着十米外对面墙上的那尊遗相。

一如我爱他,敬他,感激他。

“为什么?”

他正坐于神龛前方的蒲团上,跪拜行合手礼,姿态谦卑,直至那蓝色的头带从他背壳上倏忽间滑落,我面无表情地着他开立的大腿,抬起的胯部,歌功颂德般的虔诚,献祭般恭敬的痛苦。

“因为他不曾给你想要的,也不曾允你做你自己?”

这是什么狗屎答案,还是敲钉转角式的旁敲侧击?

他起身面对着我,于是我见证何为不朽。

它张牙舞爪地爬出神龛,自我复制着,增殖着,巩固着,随即化作发泄边缘的阴颓之力,从那双海蓝色的双眼中缓缓辐射而来——

我注视着他在烛光下并不光滑的肌肉纹理,深知其触感远不如它看起来那般粗糙,伤痕掩隐其间,我知悉其每一道故事一如自身的每一次痛苦。可此时这站在我面前与我血脉相连的兄弟,俨然是以滨户家主的身份在对我说话,胸腔内抽搐的疼痛让我的呼吸略微一窒,于是我笑了。

倘若我手里还剩一根,现在也早就点燃了,不论现在是位于房顶,还是道场,亦或是在神龛之下,父亲面前。

“因为他选了你来决定一切。”选择你来承担这一切。

你可知那蒲团如同祭台,而你跪坐其上,便是这滨户的上任家主为家族延续而挑选的傀儡了,好让我们都有怪罪之处,感激之处,以便满足你可悲的英雄主义和顾影自怜式自我救赎?

倘若他上天有灵,看到自己挑选的躯壳完美继承其衣钵,必然倍感欣慰,美其名曰弥补其前半生缺憾,死而后已,

而你果然是根正苗红,诚不我欺。

然后光宗耀祖成了你的红头文件,

然后以奉行正义之名扑击如火,披荆斩棘,

然后你冠冕加身,从此便高人一等,

你现在可知其中利害了?

“于是你便嫉妒?”

我嫉妒你妈。

我终是没在父亲的遗相前口吐芬芳,

即使他放任毕生所爱的妻女惨死敌手,

即使他不曾为他的儿子们创造一个可以融入人间的机会而努力过,

即使他曾长久而乐此不疲地兜售了一个维护世界和平的英雄梦,细耐心浇灌,待其生根发芽,直至变成枷锁,

它寄生在我面前的这段躯壳之中,根植于我曾不遗余力企图揭下的那条靛蓝色的冰冷面具之下,我曾深爱过的灵魂曾经住在那里,也死在那里。

可他至少教会我们足以保全自身,有资格对企图以恶意溺死我们的世界说不,

——于是我理解他的辛酸不易,也明白他将毕生心血寄托于长子身上的苦涩,一个必将消亡的变种家庭与世界为敌显然是自寻死路,想要在世间长久地生存下去,总要有一个人来牺牲自己领导他的族人,

即使那冠冕是一时的荣耀和永久的束缚,

即使他不能再倾尽所有去爱一个人,

即使从此他便不再拥有他自己。

而李奥自4岁开始便每天早起两个小时离开温暖的被窝,洗漱完毕,饿着肚子练习基本功,披星戴月,从不偷懒。我愿意相信他在那时便想要成为世界和平的守护者,我们都相信过。

可真理和大义历来都冠冕堂皇,蛊惑人心。你若想要战争,便说伟大的战争造就史诗英雄,你若想要一雪前耻,便告诉你的儿子为荣誉而战。原本在这世间找到哪怕方寸容身之地已实属艰难,可那句话怎么说的来着?

半壳英雄,破影而出?

这他妈是什么臭狗屎?

我曾经想要像你一样一心一意守护这个世界,直到我在那些被我救助的人恐惧的眼睛里看到我自己的模样,除了那狰狞如恶鬼的轮廓,唯有避之不及的厌恶与恐惧。

也许我太敏感,尤其对这世界的恶意太过于敏感,所以不愿像别的兄弟一般得过且过,我很早就意识到这夜景如焚极目不可望其边缘的繁华世界,不会属于我,不会接纳我,不会认同我。

所幸我也不需要其认同,接纳,而我亦有归宿,那便是我兄弟的身边。

而反观我的某个兄弟,早就被砍去锋芒,拗断棱角,钉上荣誉和责任的铁蹄,以其所领导的家族愿望为缰绳,

“嫉妒什么?斯普林特二世?”

我抬起眼与那对透着隐怒的深蓝色眼睛撞了个满怀,一如既往不加掩盖鄙夷和厌烦。

他轻缓吐息,将皮带扣在胸前,神态像极了挽起袖口准备鞭打我的父亲。我庆幸自己早就在蒙昧之年的每一次体罚里顿悟——

流泪不能解决问任何问题,却可以避免屈辱。

然父亲已死,所谓的选择一个领袖来领导家族的预言,在李奥和父亲之间不过是一个心照不宣的约定,根本不容他人与之同台竞技。这决定却伤我最深,我自幼便失去了与他亲密相处的机会,毕竟领袖以责为重,不得与他人分担,而责无旁贷便是第一课,乃是为人领袖者首要之重。

于是他被迫早熟,变成了现在这幅摸样,每一束思维便是为寻找敌人的弱点伺机而动,目光所及之处即是荣誉和责任。

即使他嘴上不说,我也知道他必然是认为这家里的每一个兄弟都是在他的庇佑下生活,也许说这世界都在他的庇佑下正常运转也不为过。

他背壳上那道深深的划伤算是真的在他自尊心上刻下了无能二字,可他竟然还不知好歹,从泰瑟兰盾入侵,无辜路人在战斗中被误伤,到老太太过马路被撞,凡是拯救不到,阻止不了的,挽回不来的,便都成了他李奥纳多的错,

巨细无遗,一并包揽。

“你若要对先父不敬,那不如滚出去,我们在外面做个了断,如若你输了——”

“你担心父亲的尸骨余温尚在,我便会率先挑衅你吗?”

“这不是挑衅吗?”他反唇相讥,

“我怎么一点都不意外你会这么想?”我立时露出后槽牙咆哮。

“父亲已经去了,就算你有千般不满,也该闭上那张嘴。”

他想必是说不出“死”这个字,我理解这种如鲠在喉的讳莫如深,毕竟父亲的死于我们每个人而言都如同从撕开身体中硬生生扯下一片血肉,你却非要表现得如同唯有你在哀悼一般。

“我从未对父亲不敬,就像我从不对你嘴下留情。”我一字一句的说,

你这该死的,六亲不认的,兄弟。我若对他不敬,定要抛去所有手下留情与你死斗,我若从不妥协从不遗忘,细数你每一件罪状,那血河能从曼哈顿流到纽约港,你我自然也不会有今天。

“你不是早就看我不满,从我第一天阻止你抢兄弟的玩具,到第一天成为领队?”

“那你早清楚我是什么样的人,又凭什么要求我特殊对待你?”

你早该知道如果有人命令我不许出门,我就会打烂他的脸,有人想干我,我便要踢烂他的几把,如果有奶酪刨丝机敢骑在我脖子上拉屎,那我就该掏出他的肠子把他勒死在自己的血泊里。

“你抗拒一切权威,不懂纪律为何物,从来都莽撞行事,而我总是在给你擦屁股。”

谁的纪律?谁的规矩?他说出来的话便自认为是法律?

这会他倒是不提平日里什么脏话连篇,污言秽语的说辞了,竟不以为意的自顾自下起了总结。

“所以是你屈尊降贵,勉为其难,自我牺牲?”我粲然冷笑,“你根本没有资格对我的选择负责!至于你那坨狗屁价值观,这世界就算没有你或早或晚也会走向尽头!”

我从他抿紧嘴角和紧绷的肌肉里听到了空气里劈啪作响的火花,

事情总算变得不那么无聊了。

“听真话是不是感觉特刺激?”我嗅着硫磺燃烧的味道,欣然拔薪助火,

遂抬起下巴,眯起眼睛轻缓地说,“如果你以前没有记住,我现在再说一遍,”

“我不是你可以随意驱使的奴隶,更不是你救世的工具,我的生命也不属于你。你不是向来痛恨脱离计划的存在吗?”

“除非你能杀了我,那你最好现在开始习惯。”

他没有拔刀,我亦没有拔出铁尺,可我也没有漏过他眼神里一瞬间的狠厉,比一瞬间更快的熄灭了…

继而从常年那副傲慢的面具里萎顿下来,悲苦和撕心裂肺的疲惫爬上了他的眼睑,

“你为什么总是恨我。”

我惊诧于他此时从未曾示我的那一面,嘴唇颤抖,如同摇起弹尽粮绝的白旗,

我只觉得讽刺,他竟将我的桀骜不驯归罪于我恨他?

我不禁苦笑,方才的愤怒竟不了了之,

“我从未恨过你,李奥,我甚至能忍受你的狂妄自大和虚伪,我只恨你代表的东西。”

恨父亲夺走你本属于我的时间,磨去我最爱的那些地方,把你变成了今天的样子。

我也可怜你,可怜你失去你本可以拥有的东西,为你现在得到的这一切所牺牲的一切。

可即便你如此不堪,我却也忍受着不至于离去…

你不知道罢。

《爱是持久忍耐,加以慈悲……》

——圣经·新约·哥林多前书

 
阅读更多

from clementin

2001 L'odyssée de l'espace

J'avais emprunté ce grand classique à la médiathèque et je voulais le regarder depuis quelques temps. En rentrant de cours j'ai donc prit l'iniative de voir ce film qui est en fait super long mais voilà.

Alors qu'est ce que j'en ai pensé ? Et ben c'était cool. J'ai pas compris grand chose à vrai dire mais les plans m'ont foutu une grosse claque et j'ai trouvé ça inspirant, pas chiant malgré les lenteurs, mais reposant plutôt.

Dr Folamour

Vu que j'étais un peu fou j'ai enchaîné sur un second film de Kubrick ce jour là : Dr Strangelove avec son merveilleux tire cynique à lui seul. Et autant 2001 L'odyssée de l'espace j'ai bien aimé, autant là j'ai vraiment plus qu'aimé, j'ai adoré.

L'humour, le ton satirique, l'image, la puissances des plans et les répliques sont très marquants. En plus on sortait tout juste d'un tournage où on a filmé en noir et blanc donc ça m'a fait marrant de voir un “vrai” noir et blanc plus travaillé que le notre.

Mais sinon vraiment un film que je ne peux que recommander à mes amis, qui traite de la Guerre Froide de manière excellente. Un de mes films préférés déjà.

 
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from Parsa

همه ما شنیدیم که میگن: “خانم‌ها باید با مردهای بزرگ‌تر از خودشون ازدواج کنن چون ۴ سال زودتر به درک و فهم میرسند!”

البته با کمی فکر میشه به ریشه این جمله پی برد. این جمله در اصل ریشه دینی داره و ربطی به اینکه کدوم جنس زودتر به فهم و بلوغ فکری میرسه نداره! قضیه مربوط میشه به بلوغ جسمی و سن تکلیف. خانم‌ها به صورت میانگین چهار سال زودتر از آقایون به بلوغ جسمی میرسن و در گذشته رسیدن به بلوغ جسمی تنها معیار ازدواج بود. در قدیم، دختر و پسر که به بلوغ میرسیدن باید بچه میاوردن و دیگه بحث سن، تفاهم، فهم و شعور نبود. این جمله نسل به نسل گشت و امروز با تعبیر اشتباه، به خانم‌ها این توهم رو دادن که زودتر از آقایان به بلوغ فکری میرسند! بلوغ فکری هیچ ربطی به سن و جنسیت نداره. بلوغ فکری ناشی از تجربه و در اجتماع بودن هست. در نتیجه بلوغ فکری، فرد به پختگی می‌رسه. برای مثال: خانم ۶۰ ساله‌ای که تمام عمرش تو خونه بوده پخته‌تره یا پسر ۲۰ ساله‌ای که از بچگی تو بازار بزرگ شده؟ طبق تجربیاتم، اون خانم فهمش در حد یک بچه ۶ ساله هست و اون پسر نسبت به سنش خیلی پخته‌تره. این جمله رو از من داشته باش:

“بهتره یکی رو پیدا کنی که پخته باشه، نه یکی که سنش بیشتر باشه. اختلاف نسل ادمو کلافه میکنه.”

 
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from Parsa

متون علمی و فلسفی را به فارسی نوشتن، مثل این است که کاروان را در شب ببری.

'ابوریحان بیرونی'

زبان فارسی فقر کلمه داره! این یک واقعیت هست. فرهنگستان زبان و ادب فارسی، با ساختن کلمات مسخره و بی‌اساس، معضل بزرگی ایجاد کرده. هیچ ایرادی تو وارد کردن کلمه نیست! مشکل کلمه “طیاره” چی بود که کلمه مسخره “هواپیما” رو جایگزینش کردن؟ خیلی از زبان‌های دنیا کلمه‌ای که ندارن، وارد میکنن؛ کلماتی که دارن هم ترجمه میکنن. مثلاً ما میتونیم به Mouse کامپیوتر به‌جای “Mouse” بگیم “موش” چون همون معنی رو میده. یکی از مشکلاتی که در ساخت واژه بهش فکر نشده، لهجه‌هاست. زبان فارسی لهجه‌های زیادی داره و واژه‌هایی که ساخته میشن، تلفظ لهجه‌ها رو در نظر نمیگیره! مورد دیگر الفبا عربی هست که یکی از عوامل عقب موندگی ما و ارتباط کم ما با دنیاست. متأسفانه الفبا عربی، نه تنها پشتیبانی خوبی از زبان فارسی نداره، بلکه اصلاً نمیتونه لهجه‌ها رو ادا کنه! برای مثال: 'من د شومه سره' 'Man da shoome sere' معنی: من به خانه میروم (با لهجه مازنی) با کدوم تونستید لهجه رو ادا کنید؟ با استفاده از الفبا لاتین ما میتونیم زبان فارسی و لهجه‌ها رو به خوبی در نوشتار بفهمونیم. البته منظور من فینگلیش نیست! راه حل اینه که ما از نو اصول نوشتاری رو بسازیم، نه با کمک فرهنگستان زبان و ادب، بلکه با ساختن یک Community و یک وبسایت. بعضی‌ها میگن با تغییر به الفبا لاتین آثار ادبی ما فراموش میشه! این حرف بی‌نهایت اشتباهه، چون ما میتونیم تمام آثار ادبی رو با واژگان لاتین بازنویسی کنیم. نوشتن با الفبا لاتین خوندنش رو برای بقیه کشورها آسون‌تر میکنه و باعث میشه ادبیات ما به جهان صادر بشه.

 
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from clementin

Le contexte

Il y a un peu plus d'un an nous avons participé à un marathon de court métrage, de la Scène Nationale d'Albi (SNA) avec Ainhoa A-A, Hama M-D, Milan B, Charlotte L-B et Louise M. Loïck L est resté aussi pas mal de temps nous aider. Je voulais les citer vu que ce projet est un projet collectif. Une personne en moins et le film n'aurait pas été le même.

Le principe de ce marathon est que en 24h, nous devons réaliser une production audiovisuelle (fiction, documentaire, clip) de notre choix sur un thème donné. En 2021 il était je me souviens. On le reçoit par e-mail le samedi à 10h et on doit le rendre à 11h le dimanche (dû au changement d'heure dans la nuit).

Donc nous recevons le tout et nous mettons à cogiter nos petits cerveaux pour trouver des idées de scenarii. Après je ne sais plus combien de temps exactement, peut être une heure, on reste fixé sur l'idée de deux amies (jouées par Charlotte L-B. et Louise M.) qui sont en train de glander sur un canapé et se souviennent des moments où elles faisaient des choses encore, toujours avec comme lien un objet qu'elle retrouvent.

Le thème du souvenir

Pour expliquer l'origine de cette idée, elle vient sans doute de la non sortie du confinement. J'écris cela en avril 2022 mais il ne faut pas oublier qu'en avril 2021 on était encore confinés, avec un couvre-feu. On sort d'une année à moitié en 100% distanciel et l'année de lycée se passe un tiers à la maison. Le contact social autre que la famille et scolaire nous manque. Cependant, à ce moment déjà nous faisons une “overdose” de covid dans les médias, on ne voulait pas en parler. Au final il est quand même présent en toile de fond mais n'est pas cité.

Ce court-métrage tentait donc de se remémorer des souvenirs datant d'avant ce confinement. L'époque où nous pouvions sortir, vivre. Et heureusement maintenant cette période revient (même si j'ai adoré le confinement je dois avouer).

Vient on refait comme avant.

La dernière phrase (qui n'est pas bonne je le conçois, avec en plus un son de mauvaise qualité) évoque cette volonté de retourner dans une vie d'avant.

Des images

bloqués version pas chère

Ici vous pouvez voir le premier plan du film et qui sert en réalité de trame car seul plan constant. Il est directement inspiré de la série Bloqués réalisée par Kyan Khojandi, Navo, Orelsan, Gringe et FloBer. On voulait refaire paraître l'ambiance de la glande avec la table basse pleine de nourriture. D'ailleurs le coca renversé n'était pas volontaire à la base. Pour éclairer, on a utilisé une petite LED avec une teinte bleue, qui est censée imiter lumière de la TV.

run run run

Voilà j'aime juste beaucoup ce plan, beaucoup trop long à la base mais avec une lumière chouette à mon avis. Et je ne dis pas ça du tout car c'est moi qui l'ai filmé et étalonné toute la nuit.

le jardin

Un petit moment de paix dans le parc municipal. Si je me souviens bien on a rajouté un filtre au montage en dupliquant la vidéo et avec des filtres étranges de fusions, pour donner un effet de filtre de diffusion. Mais je ne suis plus sûr, c'était il y a plus d'un an et à 4 heure du matin.

la fuite

Bon là à part le fait que je trouve que l'effet de nuit américaine marche assez bien pour quelque chose de fait en quelques heures (bien que trop sombre avec le recul), j'aime bien sa symbolique : la fuite. La fuite du quotidien morose de l'intérieur de la maison pour un endroit plus coloré, l'extérieur (le plan avec les jolies lumières plus haut). En refusant plusieurs fois l'appel, le personnage refuse le quotidien non-fun dans lequel elle vit.

Ce qui me fait beaucoup rire quand même c'est que la plupart des éléments dits ici sont des analyses de notre propre film. Certaines choses sont intentionnelles et faites de manière naturelle (enfin plus ou moins, on a quand même beaucoup bossé dessus hein). Mais je trouve ça chouette.

Conclusion

Enfin, après vous avoir parlé en long et en large de ce court métrage, vous pouvez le voir ici si le cœur vous en dit. Merci de votre lecture.

Je remercie encore tous ceux qui ont participé et les parents qui nous ont laissé faire ça et la maison.

 
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from foolsreflection

On Drakengard's Ending E.

This is an especially frustrating topic to write about. I am not typically one that feels much reverence for things as “established canon” or even caring much about lore, in general. Each game is its own isolated work, it may have connections inferred by its previous piece, but it should be able to stand on its own merits. This combined franchise, Drakengard and Nier, does all have entries that stand on their own merits, as well, so caring about any sort of established connection between each of them is kind of a tenuous balancing act on its own.

With that said, however, this is meant to be reflections on the typical convention of gaming conversation. Things that have infested my brain and won't go away until I get these thoughts out through the written word. In this case, we're discussing the oft repeated sentiment, “Nier is the continuation of Drakengard's joke ending.”

Drakengard's Ending E is pretty notoriously well known, a giant woman seemingly made of stone—the Queen Beast—falls into Japan, with the protagonist and his dragon companion going along to fight them. There's a difficult fight where you have to match the musical tones coming out of it by hitting two different buttons to match the patterns. It's quite a departure from the rest of the game, to be sure, and ends with the Japanese military shooting down and destroying the dragon. These events then lead into Nier because the otherworldly entities of the Queen Beast and the dragon spread disease and magic into the world as a way of setting up the plots of Nier, which of course came some many years later and probably was not originally planned to set up a sequel.

However, as wild as this ending is, I'm not ready to call it “the joke ending”. Drakengard, Drakengard 3, Nier: Replicant (specifically the re-release), and Nier: Automata all have endings that go from A to E, and they seem to follow the pattern of further expanding on what came before. You cannot see Ending B, before Ending A for example, as Ending B wouldn't make sense without the context of Ending A. There's a small exception in Nier: Automata, in that Ending C and Ending D are choices made and can be viewed either way, but beyond that this remains true.

I feel somewhat baffled by the assertion that just Drakengard's Ending E is a joke. Nier: Automata, which tends to be the most well known of the entire series, I think the consensus is that Ending E is the “true ending” of the game, for as much as that concept holds weight. We'll probably get to that concept at a later date. Drakengard 3's Ending E almost mirrors Drakengard's and, in fact, sets up stuff that is referenced even in the loading screens of Nier: Replicant.

Even if we just look at Drakengard alone, Ending D is when the Queen Beast shows up with a bunch of giant flying babies, all coming out of the sky into the fantasy world. If this is still deemed part of the serious section, why is it that going to modern day Japan is when the individual's disbelief is suddenly shattered and it gets deemed as a joke? It isn't a phenomenon I've encountered, personally. I assume it elicits laughter and that is why it is considered a joke. Yet, I believe it is possible this is meant to be read with all sincerity.

In general, it seems consensus tends to fluctuate when it comes to readings of Japanese games. A lot of games in the Super Nintendo era tend to get read as being more comical, and more like Saturday Morning cartoons. Where as the more modern Japanese games tend to get interpreted as “taking themselves too seriously” with their melodramatic prose. Yet, it wouldn't surprise me if the intent behind both styles of games was exactly the same, and either due to just translation or cultural differences paired with the graphical differences between generational gaps, they are considered to be different in tone by western audiences.

Regardless, I think it's strange that the consensus has declared the ending to be a joke, when the rest of what came after simply states that not only does Ending E occur, but that all Ending Es in subsequent titles are also vitally important to the thesis of each game's plot. I think it's time to retire calling it a joke. It can still be an ending one doesn't like, but that requires different language and thought to explain an individual's thoughts as to why.

 
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from npaliwal

How CMOs Can Optimize Their Organization’s Digital Marketing Budget To expand its budgetary reach and become a beneficiary of data, tech, and digital development initiatives, marketing must be involved from the beginning of digital transformation projects. Marketing budgets are under immense pressure and scrutinized during times of business uncertainty, leaving marketing teams scurrying to alter their plans to accommodate for shrinkage while still delivering the revenue growth the business requires. Marketing budget cuts Aside from the obvious financial constraints caused by the global economic downturn, a number of other issues are contributing to cuts in marketing budgets. Also Read: Imperative of an Omnichannel Approach for Excellent CX Depletion of skilled digital marketers Marketing budgets are being depleted in more ways than one. It’s also the loss of highly experienced digital marketing expertise, which is being repurposed for large-scale digital transformation initiatives that are a top priority for CEOs and CIOs – and a promising career path for ambitious marketing executives. Key aspects to focus on CMOs must refocus their brand and marketing strategies on acquiring longer-term consumer value rather than on creative endeavors that are unlikely to result in growth. They must also examine the entire consumer buying funnel, from top to bottom, in order to discover performance enhancements that will result in a higher return on investment. For more such updates follow us on Google News TalkCMO News. Full Article: https://talkcmo.com/featured/how-cmos-can-optimize-their-organizations-digital-marketing-budget/

 
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from npaliwal

Three Strategies for B2B Marketers to Capitalize on Emotions Surviving in today’s dynamic B2B marketplace requires B2B marketers to use effective emotions to connect with their customers. When creating any campaign for a B2B audience, most B2B marketers still create messages that are strongly product and organization-focused. However, when doing so, they leave a critical part to infuse within their messaging; emotions. Research from Google, in collaboration with CEB, revealed that B2B customers are significantly more emotionally connected to their vendors and service providers than consumers. Hence, today’s B2B marketers Invoke a sense of pride The B2B customers often take a long time before finalizing their decisions. This is primarily since making any B2B is often a risky endeavor. Hence, most people involved in the buying decision expect to know that there are rewards to effectively balance the risk. Also Read: B2B Organizations Increasingly Advancing Towards Virtual Software Sales and Training Experiences Produce positive emotions While on their journey to leverage emotions, B2B marketers may often fall off the track. Instead of inciting emotions that appeal to customers, they may end up invoking the ones that may repeal them or can further their distance from the respective entity. Let the customers know that they are the part of tribe Regardless of B2B or B2C, audiences feel great when they know their voices are being heard. This makes it easier for B2B marketers to gather more information. For more such updates follow us on Google News TalkCMO News.

 
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from npaliwal

Paving the Way for The New Wave of CMOs “Marketers have a skillset that should be utilized for things outside of just improving the bottom line but if you can prove your value in numbers, you’re much more likely to be trusted with budget, and the sky’s the limit for creative opportunities,” says Cristy Garcia, Chief Marketing Officer, impact.com in an exclusive interview with TalkCMO. TCMO Bureau: Why has the role of CMO been predominantly female in recent years? Cristy Garcia: I think people are drawn into careers based on gender roles growing up. Men are stereotypically drawn to Science, Technology, Engineering, And Mathematics (STEM) roles where women tend to gravitate towards things like reading and writing, or more creative roles. TCMO Bureau: Typically, individuals aren’t in the CMO role for very long – the average is actually around 40 months compared to a CEO’s tenure of 80 months. How do we judge what makes a good CMO? Also Read: How CMOs can Enhance Customer Experience Strategy Cristy Garcia: Since the introduction of attribution in digital marketing and advertising, marketing leaders are now able to prove the revenue and pipeline contribution of marketing efforts. And when you can tie your performance to revenue growth, you’re pretty tough to get rid of TCMO Bureau: Marketing is an ever-changing skill. With new, more interactive channels taking centre stage, how will marketing keep up? Cristy Garcia: It can become a bit of a circus, especially with so many different social channels but we’ve found that there is a time and a place for everything. Great marketing used to be tied to catchy jingles, then compelling white papers and informative e-books but now more modernized snackable and visual marketing pieces take first place. TCMO Bureau: With summer just around the corner and many events making a comeback after the pandemic, as a CMO are you jumping fully back in? Cristy Garcia: I’m cautiously optimistic. We know that the world is just different now. None of us can gaze into a crystal ball to predict what is going to happen. But we can take precautions: at impact.com, we won’t sign a contract to sponsor an event unless there is a COVID cancellation policy, and full refund should there be an issue. TCMO Bureau: Finally, what do you think makes a modern female CMO successful in 2022? Full Interview Link : https://talkcmo.com/interviews/paving-the-way-for-the-new-wave-of-cmos/

 
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from npaliwal

Stamats Makes New Audience Management Acquisition Stamats Communications, Inc. announces the acquisition of the Audience Management services of TriMax Direct, effective April 1, 2022. The clients moving over from TriMax Direct will move into Audativ, the audience management division of Stamats. “We are excited for the opportunity to continue the tremendous services TriMax has offered its client base in audience management with our acquisition of their portfolio and team,” said Stamats President & CEO Peter Stamats. Also Read: Metaverse and the Future of Customer Experience “Audativ continues to take a stronger position in the B2B audience management markets,” added Mr. Stamats, mentioning their highly capable consulting services and unique united dataset for audience analytics. Stamats has been active in publishing since its inception in 1923 and they currently own and operate a leading B2B publishing brand, Meetings Today. Founded in 2001, TriMax Direct is an outsourced data, research, and marketing agency based in St. Paul, Minnesota. For more such updates follow us on Google News TalkCMO News. Full Article: https://talkcmo.com/news/stamats-makes-new-audience-management-acquisition/

 
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from npaliwal

Effective Data-Driven Marketing with Customer Data Platforms First-party data has increased in popularity during the last decade. Marketers today have more first-party customer data than ever before, however, it is scattered across more platforms. Moreover, expectations for highly personalized experiences have risen dramatically as well. Advantages of a Customer Data Platform Integrating a CDP into a company’s marketing workflow can help them build stronger consumer relationships while also seamlessly integrating with their present system. A CDP provides a number of advantages that a simple CRM or DMP cannot match, including: Creating a unified customer view By fostering a collaborative working environment that boosts productivity, CDPs reduce data silos, that other software causes. The platform brings together customer profiles from several systems to provide an organization with a single, comprehensive view of its customers. Also Read: Five Key B2B Marketing Strategies for SaaS Enterprises Offering new insights Accuracy is crucial for providing an efficient marketing campaign, and with the massive volume of data available, determining if the data obtained is reliable can be difficult. Knowing that CDP data is authentic and comes from the source can offer an organization the confidence it needs to build an effective marketing strategy. Creating tailored, real-time consumer engagements Customer Lifetime Value increases as a result of greater personalization provided by a CDP platform. The platform leverages unified consumer profiles to provide personalized recommendations and guide the customer journey. Long-term learnings and campaign optimization A Customer Data Platform allows marketers to learn more about the effectiveness of various campaigns. Marketers can assess the efficiency and outcome of the movement they wish to analyze by using a customer data platform. By analyzing their previous attempts, marketers can better their efforts to promote the product or service in the future. Full Article: https://talkcmo.com/featured/effective-data-driven-marketing-with-customer-data-platforms/ For more such updates follow us on Google News TalkCMO News.

 
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