pair-wise synteny analysis: Topics by hg00880.info
as well as innovative lyrics which dealt with the problems of Korean society. The idea of soft masculinity has flooded the Kpop culture and has reacted well .. such as 2NE1, BTS, Girls' Generation and EXO, often hold concert tour dates. . In September, Junsu became the first K-pop idol to perform solo in Brazil and. Unfortunately, however, to date, the direct evidence of HMGB1 in the angiogenesis metastasis of HCC is one of the inflammatory responses to hypoxia stress . . The study was financially supported by the Young Scientist Innovation Team Project of Hubei Hani Oweira · Imad Lahdou Junsu Lee. Trainees live in dormitories where they're taught to sing and dance, told what to eat, when to date (single performers are more attractive to fans).
Operator cognitive workload is an important concern in remotely piloted aircraft RPA operations. RPA use is PubMed Central Background Most models of genome evolution concern either genetic sequences, gene content or gene order.
They sometimes integrate two of the three levels, but rarely the three of them. Results We propose a probabilistic evolutionary model for gene neighborhoods, allowing genes to be inserted, duplicated or lost. It uses reconciled phylogenies, which integrate sequence and gene content evolution.
We are then able to optimize parameters such as phylogeny branch lengths, or probabilistic laws depicting the diversity of susceptibility of syntenic regions to rearrangements. Ellis Horwood Series Computer and their Applications. Marchand On commercial expert systems projects Philip Cooper Expert systems in management science. Welsch System structure for parallel logic programming.
Dreyfus and Stuart E. The only future for inference-making computers. Heng Why evolutionary development of expert systems appears to work. AI technology and SDI software. Hertzberger Parallel processing, the challenge of new computer architectures: Tim Johnson and Tony Durham.
Zadeh Mind over machine: The power of human intuition and expertise in the era of the computer: New York, The Free Press, Doukidis and Edgar A. Lee Efficient processing of integrity constraints in deductive databases. North-Holland, Amsterdam, pp. No motivation should exist for the star-level singers and songwriters, not to mention their music distributors, to participate in the YouTube business model for music. Therefore, according to this new business model, the ultimate buyer of the music is not the audience but the MNEs whose products the K-pop fans eventually end up buying Figure 1.
In other words, MNEs would not participate in this platform, either, unless the K-pop audiences are their eventual customers.
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The explosion of the K-pop popularity in Europe is not solely due to a mere accidental discovery of the free K-pop content on YouTube by young E. In our in-depth interviews with European K-pop fans, we noticed that only a small portion of the loyal fans that came to Korea encountered K-pop through YouTube or other social media. The majority of them confirmed a more plausible scenario of getting introduced to K-pop through hubs of Asian popular culture: By showing initial inclination to Japanese or Chinese culture, or by visiting these two Asian cultural hubs, young Europeans discovered K-pop through local K-pop communities either on or offline.
These visitors would then act as messengers of newly learned K-pop to their own friends and social networks in their home country using social media. This is why most French K-pop fans were initially Japanese manga or anime fans Ryu, In this sense, the social media works like a facilitator of K-pop dissemination, pro- vided that they have all the advanced features that we have described in Table 1.
Gleaned from the recent use of YouTube music videos in local bars and disc jockeys, we can easily recognize the market value of the free music content that is useful not only for end users but for other intervening businesses. If the Korean music industry can network a new business supply chain for K-pop, it is also possible for it to realize bigger revenues and profit by switching their strategic postures from the business-to-customers B2C model to the business-to-business B2B format, as long as piracy remains a fundamental flaw in the entire music industry.
Selling the free content to buyers in the supply chain reduces marketing costs, transaction costs, and risks in producing untested art forms, not to mention the fact that the content is free i. MNEs and Google Figure 2. By buying the K-pop content and artists posing for their commercials, MNEs can enormously raise their brand value, as long as the artists and their songs attract millions of YouTube clicks daily from all over the world.
The company initially invests money in procuring gargantuan virtual space, in which they build platforms of interactive communication. The virtual space with advanced and user friendly interactive communication tools will be sold to MNEs at high fees.
K-pop producers discover young talents from early on, train them to be next super stars, and market them globally in the music industry. The producers also maintain their conventional business of producing music albums CDs and DVDsselling concert tickets, and organizing fan meeting events with autographed memorabilia for B2C profit opportunities.
The largest Table 2. These transnational songwriters and choreographers, whose combined income is the second largest within the K-pop value chain, are either freelancers or members of transnational entertainment companies.
Given the low production cost, compared to the cost borne by producers e. As Table 2 indicates, various songwriters and choreographers from Japan, the U. K-pop artists take the lowest paycheck from the value chain, as their income is arranged ex ante by the contract their parents signed when they were admitted to the training camps organized and run by K-pop producers.
The huge amount of specific investments borne by the producers is the excuse for low payments to the young idol groups even after their sensational success on TV and other social media. Producers also want to milk these idol groups in a short period of time, as evidence by the high level of specific investments in young talents Choi, For example, Tong Vfang Xien Qi TVXQ complained that the contract period was abnormally long 13 yearsand they had never been properly compensated for their labor.
End of contract; no contract renewal Members dissolved at the end of the contract period. Left DSP Entertainment agencies.
Group performance stopped; individual performance with other G. Disputes with Sidus HQ agencies. Erected their own production agency; oldest idol group still Shinhwa Left SM at expiration of contract performing.
Kwon ; Sun By maintaining standardized e. Unlike the traditional American, E. K-pop trainees receive regimented training after they are selected as students from the periodically scheduled mass auditions.
In rare cases, trainees are banned from cell phones for up to a year continuously in order to alienate them from outside contacts.
The end product these K-pop trainees provide to the global fans and their bosses is musical and entertain- ment perfection that can be replicated by lots of other students in the training pool.
Future Generation Computer Systems
It is no coincidence that some of the European fans that we interviewed think that these singers are heavily trained like robots or soldiers: They have a uniform style, looked trained but artistic. Their songs are catchy; they look perfect and cute but sometimes [I] feel like it is too much. I know our training system is elitist, and therefore we see many dropouts from our rigid training everyday. We have no idea how to help the dropouts.
I am just worried that too many young kids want to volunteer and compete for our head start programs. Honestly, we have no idea how to help the dropouts.NEW YEARS AND HANI AND JUNSU THOUGHT!
But I can assure that SM does not violate their human rights or sexually abuse them. That I can guarantee.
From B2C to B2B: Selling Korean Pop Music in the Age of New Social Media | Ingyu Oh - hg00880.info
Given the above value chain with a new transnational strategy in entertainment business, a natural strategic evolution in business is to shift its traditional customer basis from B2C to B2B. This shift would not guarantee revenue or profit maximization, but it would award Korean K-pop producers with reduced risk in their investments, as long as their big business customers buy their free music content or even participate as investors in music production.
Strategic choices of expanding revenues in the areas of licensing and royalty e. SM Entertainment is the champion and industry leader of this new B2B business model for the K-pop industry.
EXID’s Hani Talks About Her Relationship With JYJ’s Junsu on “Radio Star”
The explosion of royalty income is parallel to the YouTube revolution, which shares advertisement royalty with music producers. Since the snowballing royalty income is the backbone of the entire industry, SM founder, Lee Soo Man, went a step further to propose to replace the Korean individual income tax with all Hallyu royalties earned from overseas MK News, August 17, Financial Supervisory Service Dart. The structure of royalty sharing works like this. YouTube installs commercials on every music video that is uploaded by producers and has an enormous number of clicking.
Whenever a fan clicks on a video and watches the advertisement that is played before the free music content, royalty is charged to the advertiser. As the number of clicks increases, so does the royalty. To perpetuate this business structure, YouTube even purchased a new company called Rights 1. Apolitical economic implication of this B2B model or the foreign royalty-driven income structure of the K-pop industry is that K-pop is substantially dependent on foreign music distributers, either offline or online, especially that of Japan offline and the U.
This also means that the postcolonial nature of the K-pop will continue to be pugnaciously reliant on imperial cultural distributors that are connected with music consumers in G7 countries, including Japan, the E.
This is why cultural hybridization is all but the postcolonial perpetuation of center-driven world capitalist system i.
Virtual Audience in K-pop Social Media In the new business cycle of the K-pop industry that relies on social media on the one hand and MNEs on the other, the seemingly least significant group of participants is the audience who constantly click on virtual and free K-pop content every day to eventually help deliver profits to Google, K-pop producers, and MNEs.
If they shift their allegiance to other alternatives of music to K-pop, the whole K-pop industry, which is also supplying actors and actresses to the Hallyu drama and movie industries, will wobble in a matter of months.
The ultimate demise of the K-pop industry would not, however, do any harm to MNEs and Google who will simply continue on to provide new genres of free music content to the audience clickers. The real question for our purpose is therefore which content they are looking for and why. Based on our interviews and other extant studies, we know that these female K-pop fans are formerly U.
Since one of us has already dealt with the issue of why middle aged Japanese women have switched their allegiance to K-drama and K-pop Oh,we will briefly discuss the same process of switching allegiances among young European girls who suddenly became loyal K-pop fans.
Most of them were first exposed to Japanese or Chinese culture for a similar reason: I introduced Japanese culture to my friend, and she told me that Korean culture is better.